Creating a Picture Book using Amazon Kindle Comic Creator

I'm putting together the last article in my series on how to indie publish a picture book, and I realized it would be a good idea to point you to some helpful resources for publishing a picture book to Kindle, as well. This video on Amazon Kindle Comic Creator is a good one. Comic Creator is free, and you can download it here.

Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask): part 3--Illustrating

In the first two parts of this series, I showed you why you might want to publish a picture book, why I prefer to publish through CreateSpace, and what goes into writing a picture book. Now it’s time to discuss what makes a picture book a picture book—illustrations.  

Illustrate It

There are so many ways to produce artwork for a picture book; but no matter how you do it, you’ll save time and make your art look its best if you make it the right dimensions, amount of room for text, dpi, format, and so on from the start. This article is about how you can do just that when preparing a picture book for publication with CreateSpace.

Every illustrator works differently. I like to draw a storyboard as thumbnails, sketch individual pages with a pencil on a piece of paper or cardboard, ink it, scan it, and then color it on my computer. Some like to draw on a tablet, like a Cintiq, that inputs their work directly into a computer. (I’d probably do that myself if I could only afford one!) Others like to work almost entirely on paper or canvas. And still others prefer to work in clay or another three-dimensional form of art that has to be photographed before it can become a picture book. No matter how you plan to do it, it’s best to keep in mind from the start what you’ll need to make the finished book look great.

The stages of an illustration from Fay Fairy’s Very BIG Problem: a pencil drawing; the inked drawing (in this case drawn on top of a light board to let me make changes more easily and avoid unsightly leftover pencil lines or smudges); the drawing digitally colored in the correct dimensions, format, and dpi required; and the final page with text added and with all the elements combined with the background, ready to be turn into a PDF for uploading. (I did originally draw thumbnails for this picture book, but I no longer have a copy of them.)

Dimensions

It’s best if the dimensions of your artwork match the pages of the finished book, plus a bit extra for edges that will probably be trimmed off. This is particularly true if you intend to choose the bleed option for your book, and you probably will. “Bleed” means that the artwork you submit will run a little past the edges of the trimmed book. You'll probably want that, because otherwise any color backgrounds you create might have unsightly white edges if the book doesn't get trimmed exactly right (which it almost certainly will be).  

CreateSpace has a few basic trim sizes it prefers to print books in, and—except for the square 8.5”x8.5” trim size—all have portrait dimensions, not landscape. I was surprised to discover this, since I own so many picture books with landscape proportions. You'll notice that the first pencils I did for this book were in a landscape format. That turned out to be strangely lucky, because it meant I had a lot more space on the page to put text than I had originally thought. (CreateSpace does offer a landscape option when you click on “More Sizes,” but because these additional sizes aren't industry-standard, they might not fit bookstore or library shelves and aren't recommended.)

CreateSpace’s recommended trim sizes

With CreateSpace, you need to add 0.125 inches to all edges of the page that might be trimmed, which means adding 0.125” to the width and 0.25” to the height (since the top, bottom, and outside edge of the page will be trimmed, but the side of the page next to the spine won’t be). I chose the 8.5” x 11” size, because I like big picture books (they seem to work better for books that adults are meant to read to children), and because I felt the large size better reflected the title, Fay Fairy’s Very BIG Problem. This meant I had to create finished artwork that was exactly 8.625” wide (8.5” + 0.125”) by 11.25” high (11” + 0.25”).

Space for Text

Of course, the amount of space you'll need to leave for text will depend on the amount of text that will go on that page, as well as the chosen font size and leading (the space between the lines). Some old-fashioned picture books have so much text on a page that they have little or no artwork on any page that contains text, leaving illustrations to every other page in the book. Usually, these books will have text on the left and illustrations on the right. Some picture books have only have a word on each page, and some even have no words at all. Most, though, need to have about a quarter to a third of the page available for text. This space doesn't have to blank, but it shouldn't contain too many colors or include any important or distracting elements.

It’s best if the text is at least an inch away from the edges of the books on all sides—including the gutter (the side of the page that meets the spine). In fact, you should try to avoid putting anything important within half an inch of the top, bottom, and sides of the page. The external edges might get cut, and the reader might not open the book wide enough to see what’s in the gutter. This is especially true for double-page spreads.

Another thing to keep in mind when it comes to double-page spreads is to avoid putting horizontal lines near the gutter. The two pages might not line up correctly vertically, so a horizontal line might end up looking oddly higher on one page than another.  

Dimensions and Format

When you’re inputting artwork or manipulating it on a computer, work in 300 dpi (the minimum required by CreateSpace) and CMYK (which are printer colors, not computer monitor colors). Save in your art software’s native format, whatever it may be. (For example, I work in CorelDraw, so I save my files either in cdr or ctp format.) Anything else, like gif or jpg, might alter the look of your artwork or degrade the digital files each time you save them. Don't worry about compatibility issues. No matter what format you work in, you'll eventually have to convert the entire book into a pdf file when you upload it to CreateSpace (I'll go into how to do that in the next article).

I also recommend that you avoid over-saturating colors. This is something I learned when I was a comics magazine editor. It’s best to err on the side of caution. For example, 100% Cyan and 50% Magenta make a very nice dark blue. Yes, you can go with 100% of those two color and add some black to create a really dark, dark blue, but it’s overkill. When it comes to printed books, less usually works better. Also, if you can avoid putting bright red next to black, you probably should. Those two colors don't like each other (which is something I learned when I was a layout artist at a newspaper).

Storyboarding

Create a storyboard that shows you how even and odd pages will look next to each other. Remember to keep the first page alone on the right (which is the standard for books that don't start with a double-page spread), and remember that even pages of books in English will go first on the left, and odd pages will go after them on the right. Try to design side-by-side pages that complement each other or at least don’t tell a story you don't want to tell. Consider things like where your characters are looking and how the colors on these pages will best look together. In general, characters looking to the right are looking toward the next page of the story, and that’s usually (but not always) a good thing. Colors should be balanced in some way, so that if a color appears on one page, it will often help to have that color or a similar color on the facing page. Also, consider how the eye will flow through the two pages, whether any of your lines are pointing at something, and whether that’s something you want to stand out.

The first storyboard page for my as yet unpublished picture book, Happiness for a Dollar. The top line of this storyboard includes the cover, interior title page, copyright page, and the first page of the book. All lines after it show what the even and odd pages will look next to each other. You might notice that the girl in the story is facing right, while the boy is facing left. That helps indicate that she’s looking forward to the rest of the story, while he’s apprehensive.

 And Let’s Not Forget…

Aside from the story itself—which should fill 32-38 out of 40 pages—you'll need to design the cover, back cover, copyright page, interior title page, and any other extra pages that will be going into the book. Have fun with them. There’s no reason why any page in your book should be boring. Here’s the copyright page of my book, for example:

The copyright page for Fay Fairy’s Very BIG Problem

 Notice the color background and the magic wand at the top of the page.

I also used the interior title page to tell part of the story. It’s the first time the reader gets to see Fay as a fairy, and it’s important, because she doesn’t look like a fairy again until the end of the book. You’ll also noticed that I used different shades of the same color as the copyright page so the two will look right side by side. Fay’s magic wand is also on both pages.

The interior title page of Fay Fairy’s Very BIG Problem

You might want to design filler pages for the back and possibly the front of the book to make sure that a shorter story can fill 40 pages without any of those pages being blank. (This is a mistake I made, because I figured that CreateSpace would be okay with a 32-page book. That’s NOT the case. They turned my 32 pages into 36—an unusual number, considering that most printers prefer the number of pages to be divisible by eight. If I had known that, I would have filled those pages myself.)

You’ll need to have a file with just the front cover, so that CreateSpace, Amazon, and others can show the cover on your book’s page; but you’ll also need an additional file that includes the front cover on the right and the back cover on the left, with 0.002252” times the number of pages added to the width to account for the spine. For example, a 40-page picture book will need the file with the front and back cover to be 0.09008” wider than the width of the cover and back cover alone side by side. (For example, a 40-page book like mine with pages that need to be designed so that they are 8.625” wide will have a combined front and back cover file that is 17.34008” wide, which is 8.625” + 8.625” + 0.09008”) The front and back cover should more or less match up at the spine, because there’s a possibility that a part of the front cover near the spine might end up in the back, or vice versa.

Make sure that the back cover of your book has a space at the bottom right, where CreateSpace can insert a barcode.

And finally, as with the story, the illustrations in a picture book need to be clear enough to convey the story easily. Also, as with the story, they need to appeal to both the adults who will buy the book and the kids that the adults are buying the book for. Look at recently published picture books to get an idea of how the different visual elements work. And again, as with story, you can read Writing with Pictures: How to Write and Illustrate Children's  Books by Uri Shulevitz for more information on this topic.

~*~

Okay, so now you should have the text and the illustrations for your picture book ready for publication. In the next and last article in this series, I’ll show you how to prepare it all so you can upload it to CreateSpace, publish it, and start selling it.  

Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask):

Part 1—Introduction

Part 2—Writing

Part 3—Illustrating

Part 4—Publishing

Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask): part 2 of 4—Writing

After publishing four novels for kids, teens, and adults who love YA books, I decided to publish a picture book: Fay Fairy’s Very BIG Problem. I ran into a few problems of my own, and so I decided to write this series of articles to remind me how to avoid or overcome those problems next time, and so others can do the same.

In the first part of this series, I showed you some of the right and wrong reasons to indie publish a picture book, the skills necessary to do it right, and why I choose to indie publish with CreateSpace. Now we're going to look at the first stage of creating a picture book—writing.

Write It

If you're reading this, you probably already have something written down or you at least have a good idea of what it is you want to write. I have, however, noticed a few basic mistakes that picture-book writers often make when they're starting out.

First, a picture book should be under 1,000 words—and under 500 words is even better. Little kids have short attention spans. Make a picture book too wordy, and your book will probably lose their attention. So make it as short as you can, and make every word count.

Second, a picture book isn't just a story with pretty pictures added to it. A picture book needs pictures to tell the story. So if your story contains any words that can simply be shown in the illustrations . . . Cut. Them. Out. For example, if your story says, “Abigail had red hair,” or even “Abigail’s red curls bounced as she walked,” cut out the part about how her hair looks. Let the illustrations simply show what Abigail's hair looks like. If you're not an illustrator, don’t even mention it in the illustration notes unless it’s vital to telling the story. You might feel inclined to tell the illustrator, for example, that Abigail has red hair because your daughter has red hair, and you want the character to look like your daughter. But if it's not really vital to the story, leave it out. Let the illustrator best tell his or her part of the story the best way that the illustrator knows how. Maybe that’s drawing Abigail with red hair, but maybe it's drawing her with black hair. Maybe it’s by drawing Abigail as a bunny rabbit. The important thing is to give the illustrator the freedom to make your story the best that it can be.

The manuscript for Fay Fairy’s Very BIG Problem. Notice that the illustration notes only explain things that are necessary to the story and that are not easy to infer from the story itself. Also note that the words are in the font and format that will be used in the finished book to make it easier to copy and paste the words directly from Microsoft Word into the artwork.

Third, make your story kid, parent, teacher and librarian friendly. You’d think this goes without saying, but you wouldn't believe how many writers insist on writing stories that are meant to appeal just to kids or just to parents. Of course, you want kids to shout, “Again!” But that’s not going to happen if an adult doesn't buy the book first. Of course, you want an adult to buy the book. But that’s not going to happen if the kid isn't going to want to hear it.

You should also consider what your picture book offers a parent, teacher, or librarian that can't be found in another book. A parent, for example, might need a picture book about blended families or living with a developmentally disabled sibling or a bunch of other stuff that Dr. Seuss never considered writing about. A teacher might need a book about dinosaurs or rivers or a recent historical event or how to deal with a bully. And librarians are constantly being asked for books on topics they don’t have. Having a book on a needed topic can be a great way to land those paid classroom and library visits that—as we saw in part one of this series—can be a picture-book writer’s or illustrator’s bread and butter. Obviously, this is true for nonfiction, but it can also be true for fiction. So ask yourself what your book might offer its potential buyers, not just the kids that make up the intended audience.

One way to do this is to imagine offering your services as a visiting author to an elementary school teacher. That teacher is going to want you to do more than just read your book. What are you going to teach kids in connection with your book? Are you going to make your author visit interactive? If so, how?

Fay Fairy’s Very BIG Problem, for example, has a page in the back explaining how I created the story by taking an ancient Indian parable—”The Blind Men and the Elephant”—and changing it by asking, “What if the story were told from the elephant’s point of view?” I would start my author visit by telling the kids the original parable and how it gave me the idea for my book. Then after reading my book to the children, I would ask them to pick a story they all knew, like Cinderella, and I would ask them to see how many different stories they could create by changing parts of it, like the point of view character or the setting. It would be a creative exercise, and it would also teach them a bit about writing and the parts of a story. So how can you turn an author visit into something more for a teacher and her class? It’s something you should think about before you've even published your book.

The story behind your book—whether if it’s the story of how you came up with the idea or how you got it published—can often be a great topic for an author visit. This page at the back of Fay Fairy’s Very BIG Problem explains the simple method I used to come up with idea for it—and how the reader can use the same method to come up with his or her own story ideas.

Fourth, know the difference between a picture book that a parent reads to a child and a picture book that a child reads on his or her own. The first can have longer and more complicated words and sentence structure, but the second has to have short and easy to read words and simple sentence structure. I Love You the Purplest by Barbara M. Joosse is a good example of a book that was meant to be read to a child. Green Eggs and Ham by Dr. Seuss is a good example of a book that a child is meant to read on his or her own.

Fifth, map out your book so that you’ve worked out what text goes on what page. CreateSpace prefers picture-books that have exactly 40 pages. Subtract the interior title page and the copyright page, and that means ideally your story should fill 34-38 pages. Pay attention to the rhythm between odd and even pages. Unless your book is made up entirely of double-page spreads, odd pages should go on the right, and even pages should go on the left after the reader has flipped the page. This means that odd pages are great places to ask questions, and even pages are great places to answer them. For example, on an odd page it could say, “What should Gloria Gorilla wear to the ball?”  The child thinks about it for a moment, picturing a ball gown. The page is flipped, and . . . The child giggles as she sees that Gloria Gorilla is wearing a swimsuit, or pajamas, or a spacesuit, or pretty much anything that seems a silly answer to that question.

This is the storyboard I made for my still to be published picture book, Click the Dog. While a writer who isn't an illustrator probably won't make a storyboard, writers should map out their picture books in a similar way, using text instead of illustrations.

Study hundreds and hundreds of modern picture books. Pay attention to what goes into them, how many words they have, how the pictures tell the story, how they appeal to both the adults that buy them and the kids the adults buy them for, the length and complexity of the words and sentences they use, and how the story is mapped out. Also ask yourself if this is a story that has been told before. If so, what does your story offer that’s new? If not, why hasn’t a book like yours been written before?

And finally, when you’re sure you've written the story you wanted to write in the best way possible, edit and edit and edit it some more. Get other people to look it over for you. If you can, join a critique group for picture-book writers, get your manuscript critiqued at a SCBWI (Society of Children’s Book Writers & Illustrators) conference, or find someone nice enough to critique it on Verla Kay’s Blue Boards, which are now the official SCBWI boards. Picture books are very short, and every word has to be exactly right. There’s no room for errors. And it helps to get a second pair of eyes to look it over. Of course, you need to be open to honest feedback. Just remember it’s not about you; it’s about making your story the best that it can be.

Once you're done, put the text in the size and font choice that you want. I asked my Facebook friends, who are mostly writers and illustrators, about recommended font size. The consensus was that a 16-point font is best for picture books. However, I found that was too small for the size I was planning to print the finished book, which was 8.5” x 11”. I chose a 20-point font instead. I also discovered that nowadays sans-serif fonts are considered the norm for picture books, because they're easier to read in short passages, particularly for young children. Helvetica is considered the best, but because I work on a PC, I chose Arial, which is similar. And I chose Arial Rounded because that fit better with the soft, rounded, and elephantine look I was going for in the book. I chose a 1.5 line spacing, because more distance between lines makes it easier to read; and I chose not to paragraph indent, because there were too many paragraphs that were made up of just one line. I also made sure that the final line of each paragraph with more than one line had at least two words on it, so it wouldn't look strange. I find it’s easier to format paragraph text in Word than in a graphics program, like CorelDraw, so I did all of this in a Word file with extra-wide margins. That way I could just copy and paste the text for each page from Word directly into CorelDraw without having to make too many adjustments.

 

The inside title page and the first two pages of Fay Fairy's Very BIG Problem. Notice how the title page can also be used to tell a part of the story.

Of course, this is only the part of the writing that involves the story. You’ll also need to write a great title, the blurb (both for CreateSpace and the back of the book), your author bio (at least for CreateSpace, if not for the last page of the book), the copyright information (look at other books for ideas on how to do this), and a dedication or a whatever extra materials you might want to include. Having all these bits of writing done in advance can help make the final parts of creating a picture book and publishing it with CreateSpace a lot easier.

The copyright page from Fay Fairy’s Very BIG Problem. You can go to Copyright.Gov to get an official copyright, but don’t worry if you don’t have one: anything original you write belongs you the moment you write it down, whether you've purchased an official copyright or not. CreateSpace will provide you with the ISBN for your book, so it’s not necessary to purchase one if you publish with them.

For more information on writing picture books, I highly recommend Writing with Pictures: How to Write and Illustrate Children’s Books by Uri Shulevitz. Picture Writing: A New Approach to Writing for Kids and Teens by Anastasia Suen and The Complete Idiot’s Guide to Publishing Children’s Book by Harold Underdown are also great books that deal with the topic. I also highly recommend Underdown’s fantastic website, The Purple Crayon, for all things related to children’s book publishing. It’s just overflowing with useful information.

That takes care of writing your picture book. In the next article in this series, we're going to look at illustrating it. Hope to see you then!

Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask):

Part 1—Introduction

Part 2—Writing

Part 3—Illustrating

Part 4—Publishing

Everything You Wanted to Know About Publishing a Picture Book (But Didn’t Know Who to Ask): part 1 of 4

So I recently published my first picture book, Fay Fairy’s Very BIG Problem, and I learned a few things (or to put it another way, I ran into a few big problems myself and was able to find out how to fix them).

I figured it would be a good idea to put together a series of articles about the experience, since it doesn't seem anyone else has really done that. There are a million and one blog posts about how to indie publish in general, but when it comes to publishing picture books, the information seems to be scattered in little answers to little questions all over the 'Net. This post will hopefully help me get it right from the start next time, and hopefully it will also help anyone else interested in indie publishing a picture book avoid some of the problems I ran into. 

First, why would you want to publish a picture book?

There are so many good reasons not to publish a picture book. Picture books are the most expensive books to create, because full-color books cost more to print (and most picture books have to be full color). If you’re not an illustrator, hiring a good one should cost you minimally a hundred dollars per page. Minimally. Per page. It can cost a lot more than that for good art, and you want good art. There are just too many picture books out there with bad art, and no one needs that.

So if you're thinking of publishing a picture book because you think they're easy to write and you can get your six-year-old to supply the illustrations, well . . .   

I'm not saying you shouldn't, but don't do it thinking you're going to sell a thousand or even ten copies. Do it because it sounds like a fun family project. Otherwise, don’t do it unless you’re an illustrator yourself.

Okay, so let’s say you're a writer-illustrator, like me. I was an editorial cartoonist, a newspaper illustrator, a layout artist, an arts-and-entertainment writer, and even a consumer columnist. Of course, you don’t have to have been all of that. You just have to have some talent in writing and especially illustrating, and you have to enjoy putting words together with illustrations. Illustrations are more important to a picture book than writing, because you there are lots of picture books that don’t have words or that have very few words; but there’s no such thing as a picture book without illustrations or some sort. Let’s say you're going at this with a realistic understanding of the rewards. You know you're not going to sell a lot of copies. Sure, it might happen, but that's not your expectation or your goal. You know your book will be competing against The Cat in the Hat, and Winnie the Pooh, and whoever Disney’s latest princess is for a book buyer’s dollars. And you can’t expect to win against that sort of competition.

So why are we doing this?

We're doing this because professional picture-book writers and illustrators know that the real money that’s to be made in picture books doesn't come from selling copies of books; it comes from paid school and library visits. Professional picture-book writers and illustrators also know that one leads to the other. Do a reading at a library, and chances are that some of the parents will be interested in buying copies of your book. Yes, there are author visits in middle schools, and sometimes even in high schools, but it’s generally easier to get gigs like this with picture books. It's also fun.

That was my reason for deciding to publish a picture book after having published four novels for kids, teens, and adults who like books for kids and teens. I wanted something for a younger age group; I wanted something for library visits, school visits, and parents with small children at street fairs. And I understand I’m still not finished, because during the last street fair I participated in, I met some kids and parents who were looking for early chapter books, the kind of thing suitable for third grade. I actually have one of those I started to work on, Gloria Turkey: Biggest Bird on Broadway, a funny tall tale about the creation of the first Macy’s Thanksgiving Day Parade. It’s on the backburner (along with several other books), because it will require a hundred or so more illustrations than I've already put into it (about 50 or 60). But at least I've now expanded my potential audience with my first picture book.  

Getting back on topic, let’s say you have what it takes to make a picture book, and you’re going into this with reasonable expectations. Since youve decided to go it on your own, the first thing you’re going to want to do is find a service that will print and distribute your books.

I picked CreateSpace for Fay Fairy’s Very BIG Problem.

Why CreateSpace?

CreateSpace and Lightning Source are the two most popular printers for indie published books. CreateSpace belongs to Amazon, which makes it super easy to get your book published with them available on Amazon. Lightning Source belongs to Ingram, which is one of the world’s largest distributors of books to schools, libraries, and brick-and-mortar bookstores, which means that using Lightning Source makes it easier to get your books into schools, libraries, and brick-and-mortar bookstores. I use Lightning Source for my hard cover books, because CreateSpace has yet to offer hardcovers as an option; but I use CreateSpace for everything else because it’s just easier to work with—and it’s free.

“Easier,” however, doesn't mean trouble-free, hence the problems I ran into and the need for this series.

Okay, so now you know the why, who, and where. The next article in this series will deal with the most important question: how? The next article will be all about writing a picture book for publication. Don’t miss it!

Everything You Wanted to Know about Publishing a Picture Book (But Didn't Know Who to Ask):

Part 1—Introduction

Part 2—Writing

Part 3—Illustrating

Part 4—Publishing

My Writing Process Blog Hop

I was tagged by Ella (the enchanting, the talented, the hilarious, and the modest) Schwartz in the My Writing Process Blog Hop, so here are my answers to four very simple questions . . . or at least they would be simple if I were the kind of writer who wrote just one kind of thing in one kind of way.

Ah, the weird and wonderful life of the eclectic writer. But let’s see what I can do. 

If you like to glimpse behind the curtain, read on.

What am I working on?

A lot. A series of blog posts about my mother, her mother, her grandmother, and their lives in Jerusalem; Why It Still Mega Bites, the second book in my funny science-fiction series, The Legend of Gilbert the Fixer; trying to figure out how to market my new picture book, Fay Fairy’s Very Big Problem; a blog post about how to publish a picture book with CreateSpace (in part to help others, but mostly so I’ll have a better idea of what I’m doing the next time around); illustrating and coloring my next picture book, Click the Dog;  assembling the parts of a book of photos, entitled Seasons in the Park, which I intend to sell at the next local art fair; catching up with the reviews I have to write for Amazon; trying to cram more things into a day than there are hours in a day; and this blog post.

How does my work differ from others of its genre?

My books aren’t just different from other books in their genres; they’re different from each other. Until I started working on the second book in The Legend of Gilbert the Fixer, I didn’t even write in the same subgenre twice!

My mind is like a library. I don’t know about you, but I would find it very boring to be stuck in a library that only had one shelf of books, all from the same genre. I don’t like to limit my reading that way, so why would I limit the stories in my head to one genre? I want to write what I want to read; and I want to read, well, everything.  

I am a funny girl, though, and I do try to put at least some humor in everything I write. I like that in the books I read, too. Humor is like salt. It makes everything taste better. Or maybe that’s chocolate. Now I’m thinking about salt with chocolate. Mmm, so good . . . Wait, what was the question?

Why do I write what I do?

There’s a different story behind each story, a different reason why I wrote it.

Most of my stories, though, start with a desperate desire to read something that hasn’t been written yet. I write to fill those holes on my bookshelf.

I wrote Toren the Teller’s Tale for the girls who believe in the magic of stories and want to read a book about a girl like them, a girl who glows with the magic of the storyteller. I wrote it because, when I was a teenager, that was a book I needed to read.

I wrote Why My Love Life Sucks (The Legend of Gilbert the Fixer, book one) for geeks like me who understand that they are the true heroes of this world and who deserve to see a hero who represents us geeks in the kinds of books we love.

I write because these are stories that I need, and I’m guessing there are others that need them, too, whether it’s to give them hope or encouragement or a good cry or a good laugh—or even all of that combined.   

How does my writing process work?

Again, that depends on the book.

Two of them—Toren the Teller’s Tale and Ride of Your Life—started as stories I wrote in my head when I was just a teenager.

Two others started with simple concepts. Dan Quixote started with the idea of putting the story of Don Quixote by Cervantes into a modern middle-grade classroom in New Jersey; and Why My Love Life Sucks started with the idea of a comedy based on the ultimate teenage geek hero’s ultimate nightmare.

In every case, the story is complete, or almost complete, in my head before I even write the outline. I’ll also outline chapters and scenes before I write them to give me a kind of roadmap to my story, a clear guide of where the story is going and how I intend to get there step by step.

Having a detailed outline also lets me start with dessert: the scene I’m most excited about writing. I try to go from dessert to dessert. And all those scenes that aren’t dessert? I can skip them until I can figure out a way to turn them into dessert, and sometimes I find they can be left out entirely. After all, the scenes I’m less excited about writing will probably be the scenes the reader is less excited about reading, too.

Toren the Teller’s Tale took me the longest to write, in part because it’s an epic, and in part because I edited it as I was writing the first draft. I wrote the first draft of Dan Quixote: Boy of Nuevo Jersey in under three weeks, and I’ve written the first drafts of several novels—including Why My Love Life Sucks—in under a month during NaNoWriMo. Of course, once the first draft is finished, that’s when the real work begins.

The editing stage of Why My Love Life Sucks took almost an entire year. I wrote several drafts of many of the scenes so I could choose the best one. Sometimes my favorite version of a scene meant I had to rewrite other sections of the novel. A famous actor once said, “Dying is easy; comedy is hard,” and that’s true. Comedy is very precise. You have to get it exactly right, and brevity is the soul of wit, so you can’t have anything extra. I probably ended up throwing out a hundred or more pages of material with Why My Love Life Sucks, but I think all that extra work was worth it.

I know all this editing probably sounds tedious, but imagining the story in my head and editing it until it shines are my two favorite stages of writing. In fact, I enjoy editing so much, I often find it difficult to say, “It’s done now. I have to let it go.”

And now I'll let this blog post go and pass the baton to a couple of truly wonderful writers. 

~*~

No matter what you write, you absolutely have to check out Judith Van Praag's, Write Day-In Day-Out blog. You'll see, she is an amazing writer with a fascinating voice: http://www.writedayindayout.blogspot.com/

I'm also excited to pass the baton to my fellow fantasy writer and indie author, A.R. Silverberry, the writer of the YA fantasy Wyndano's Cloak and his latest work, The Stream. Check out his blog at http://www.arsilverberry.com/blog

The Girls Heart Books blog tour for Ride of Your Life begins!

The Girls Heart Books blog tour for Ride of Your Life has begun! Even though it's not my most recent book, I decided to do a blog tour now in honor of the 30th anniversary of the Six Flags Great Adventure Haunted Castle Fire, which inspired the novel when I was still a teenager. The book tells the story of Tracy--a seventeen-year-old girl who died in the fire--and Josh--a seventeen-year-old boy who dies in an accident in the same theme park thirty years later.

Ride of Your Life won third prize in SmartWriter's Write It Now contest in the YA category, which was judged by Alex Flinn, the author of Beastly, Cloaked, and more. I hope you'll check it out.

A Passover Miracle

This is my favorite Passover story, one about a real miracle that happened in my mother's family when she was just a girl. I hope you like it, too. 

My mother, Tova Hacohen, was twelve years old in 1948, the year of Israel's War of Independence. 

Before the British even left, Arabic forces surrounded the city of Jerusalem on all sides and laid siege to it. Brave Jewish men lost their lives attempting to bring truckloads of food from the Tel Aviv area to Jerusalem's residents. What little there was had to be rationed, and it wasn't even safe to venture out for the rationed food. Jewish men had to walk with their backs pressed up against the walls of buildings so they would be harder for the snipers to spot, and sometimes fathers lost their lives while trying to bring home something for their hungry children to eat. 

Tova's family--all eight of them, not counting her eldest brother Shmuel who was married and lived near Tel Aviv--got only one loaf of bread a day, a little bit of beans or peas, and a small amount of flour. Because they had small children, they got powdered milk too.

“Drink, drink,” her Imma said.

“I don’t want it, if you can’t have, too,” young Tova replied.

But her Imma would not hear of it. She didn’t care if she didn’t have enough food. The only things that mattered were her children. They always came first.

That year before Passover, the Ashkenazi rabbis permitted Ashkenazi Jews in Jerusalem to eat Kitniyot, like peas or beans, during the holiday. The rabbis didn’t want anyone to starve because they were trying to keep the Ashkenazi tradition for Passover, which forbids eating legumes. Tova’s family expected to eat only peas, matzo, and a little wine or grape juice over the holiday. It wasn't much, but at least they could try to celebrate the holiday. 

Then they got a surprise. 

Tova’s eldest brother, Shmuel, sent the family a gift.

Shmuel was a member of the Hagannah, which would soon become the army of the new Jewish state. Shmuel found out who was going to attempt to bring food to Jerusalem, and he asked this brave man to help bring something special to his family. Miraculously, that truck made it through. Tova's family received handmade matzos, a few apples and nuts for making Charoset, and--wonders of wonders--a crate with over a hundred eggs!  

Eggs! It was something they hadn't had a chance to eat in a very, very long time. 

A few years before she died, my mother took her grandchildren to the house where she grew up, so they could see it and learn the stories of her childhood. The man she's talking to now lives in the neighborhood. They each know a part of the story, and they are filling each other in. 

Everyone looked forward to it. Family and guests crowded around the dining table on the night of the Seder. Tova's Abba, who was a rabbi, had invited a group of his students, and they were in high spirits. Shmuel’s brother-in-law, Ze’ev, who was also studying in Jerusalem, came too.

There was talking, and learning, and singing. They drank wine and grape juice. They ate matzos, Charoset, eggs, and peas. It wasn’t much, but for them at that time it was a feast. And despite how little they had, the family was more than happy to share it with their guests.  

When the meal was over, Abba’s students sang the rest of the Haggadah. They wanted to do as the rabbis of old did: they wanted to make the Seder last until the sun came up. 

But there was shooting outside.

“Imma!” Tova's sister Yehudit cried.  

“Yes, I heard that too,” Imma said. “We should go down to Savta’s room." Tova's Savta slept in a room on the ground floor. "It’s safer.” 

“No, no!” one of the students shouted. “It’s Passover. We should sing!”

And sing they did. And as their singing grew louder, so did the gunfire outside. And as the gunfire grew louder, so did their singing!

“Abba!” Tova shouted. “Please can we go downstairs?”

Then came a loud “BANG!”

Everyone froze. It sounded like a bullet had entered the room.  

“Enough singing!” Abba cried. “Imma, get the baby.”

Baby Rama had been sleeping soundly when Imma picked her up from her crib. Tova rushed after little sister Sarah to Savta Bat-Sheva’s room on the ground floor. Yehudit followed them. Tova's older brother Menachem went downstairs with the students. Imma carried baby Rama down with Savta Bat-Sheva at her side. Abba came last to make sure everyone was out of harm's way.

The precious crate of eggs was already there. After all, these eggs were a great treasure for them at this time, and Savta Bat-Sheva's room was the safest room in the house.

It wasn’t the first time Tova had heard shooting. But this time was different. It seemed to go on forever. And as time wore on, Tova grew tired. Soon she and her sisters were fast asleep. One at a time, the others joined them in slumber.

In the middle of the night, however, she awoke to a strange sound.

Crack. Plop. Crack. Plop.

Over and over it went.

Crack. Plop. Crack. Plop.

Tova sat up. 

The strange sound was coming from the corner where the crate of eggs sat. In the weak light, she saw her baby sister with a big pot. Little Rama’s hand came down with something in it on the edge of the pot. Crack. Then she put the thing in her hand in the pot. Plop. Rama laughed and clapped. Tova gasped when she realized what the sound was.

Oh, no.

“The eggs!” she cried. “Imma! Imma! The eggs!”

“What?” Imma said, still half asleep. “What about the eggs?”

“Rama broke them!”

Tova and Imma looked inside the pot. It was filled with eggs and eggshells. Imma checked the crate. 

Out of more than a hundred eggs, only eight whole eggs were left.

“What are we going to do?” Tova asked. “The eggs will spoil.”  

 Imma shrugged. “So we won’t have eggs for the whole week of Passover.”

“But we can’t cook them today,” Tova said. “It’s Shabbat.”

“So after Shabbat we’ll have eggs,” Imma said. “Lots and lots of eggs.”

After sunrise the family went back upstairs. Imma put Rama in her crib. There she found a surprise.  

“Look, look!” Imma cried. “It’s a miracle!”

Tova looked. 

There--very close to where Rama’s head always rested when she was asleep--was a bullet.

“It’s the bullet we heard last night during the Seder,” Tova's older brother Pinchas said.

“It’s a miracle she wasn’t hurt,” Abba said. “A Passover miracle.”  

The story of what happened quickly spread through the neighborhood. With it spread the invitation to join the family for a breakfast of scrambled eggs on Sunday morning.

There was nothing to light a stove with, so that Sunday morning they made a bonfire. Neighbors brought wooden boards. Some also brought their rationed oil. Everyone brought plates and forks to eat with. They stood in line and waited to get a delicious, warm breakfast of scrambled eggs. Abba took a picture for the newspaper he edited.

People thanked Tova's Imma, but she laughed and pointed at baby Rama. "Don't thank me. Thank the cook!" 

Here's wishing you and your family a safe, happy, and healthy Passover.