Tag: free books

Today, I’m talking with children’s book author Susan Lubner. We’ll discuss writing across genres, the creative process, and how to find a critique group. 

But before we jump into our interview, if this is your first time visiting the blog, here’s the scoop on Feature Interviews.

THE SCOOP: WHAT ARE FEATURE INTERVIEWS & WHO ARE THEY FOR?

Feature Interviews are a free resource for writers and illustrators at every stage of the publishing journey.

Every month, I collaborate with industry professionals—authors, illustrators, editors, and agents— many of whom were or currently are also educators and librarians, to discuss all things publishing.

What can these interviews offer YOU?

These interviews give readers an up-close and personal look at the world of publishing from an array of different perspectives on every side of the desk and offer insight into tips, resources, and advice on how to:

• stay current with market trends
• hook an agent or editor
• find writing community & other resources
• discover workshops, contests, and other events
• figure out which path of publication is right for you
• know if your agent is a good match

And more!

AND… if that’s not enough, every guest offers at least one giveaway prize—sometimes more. This means you have multiple opportunities to win prizes every month! *If you’re interested in entering the giveaway, scroll to the bottom of the interview for instructions.*

Not that we’ve shared a little about what’s in store… it’s time to jump into our interview!

THE VERY BEGINNING: PAVING A PATH TO PUBLISHING JOURNEY

Welcome to the blog, Susan! It’s so nice to have you with us today. The first thing I like to ask my guests is: how they ended up in kidlit publishing.

Let’s take that question into three parts: when, why, and how.
When did your journey to publishing begin?

Hi Chelsea! Thank you so much for inviting me here today 😊

I think the path to publication really started when I was a young girl…long before I was ever aware of it! I enjoyed reading so much and writing short poems, too. My love of words and story were the seeds planted early on that would eventually lead to my career in writing for children. But the turning point was when I was in college. I took my first creative writing class and I was encouraged by my professor to submit some of my work. I did, and two fiction stories were published in a collegiate magazine. I think that gave me a boost of confidence. But it also made me realize how much I enjoyed the process of writing. And that it was something I wanted to continue and hone.

Let’s touch on the why. What was the inspiration that led you here?
Is writing something you’ve always wanted to pursue, or were there other variables that brought you down this path? Explain.

What led me finally to a career in writing children’s books, happened pretty organically. But in a nutshell, it really stemmed from a renewed love and awe of children’s picture books.  After college I continued writing short fiction and taking an occasional class or workshop. Writing for children wasn’t something I had considered or even thought about pursuing until after I had my first child. My daughter and I were reading a lot of picture books. I was reminded how much I enjoyed those books! And at that point I had a new perspective, not just because I was now reading from the point of view as an adult, but also as someone who enjoyed writing. I became very aware and curious about the craft. The pairing of text with illustrations. The cadence of sentences, and the idea of writing a complete story using so few words. Then one day in 1995, my daughter was two and we were in a bookstore. I saw a poster advertising a writing for children workshop. I signed up, and I’ve been writing children’s stories ever since. 


That question leads nicely into our third which involves the how. How did you end up here in the kidlit arena?

That children’s writing workshop was the portal! It was taught by author Jacqueline Dembar Greene who became my mentor. All of us in that workshop were unpublished and newbies to the world of children’s publishing. And boy did we have a lot to learn. Several of the other members of the workshop and I formed a critique group. Three of us, (plus one other author who joined later on) are still critique partners …since the mid 90’s! Also at that workshop, I met Beth Raisner Glass. Beth had a manuscript she had been working on. At the time, I was very focused on writing stories that rhymed. She asked if I wanted to help her with her story which she was working to set in rhyme. Together we revised a new version of Noises at Night which eventually was published by Abrams Books for Young Readers.


What type of publishing did you pursue? (Traditional/hybrid/independent?) And why? 

In the beginning I knew so little about how to get published that I wasn’t even aware that one could self-publish! I was told to get a copy of the Children’s Writer’s & Illustrator’s Market which I did. It was also suggested to me that I try getting my stories published in children’s magazine’s too, like Highlights and Cricket. So my focus was always on the traditional route.


For our readers who may be new to publishing and don’t know the differences between these routes, could you briefly touch on what makes them different, as well as the pros and cons of each?

I don’t have any experience with hybrid or independent publishing and have not stayed current so I don’t have a lot of specific advice to offer to anyone who is taking that route nor can I speak confidently on that process.  But generally, I can say that regardless of which route to publication is taken, there are so many wonderful resources that every writer can tap into to help them on their journey to publication. 

Joining a writer’s critique group is invaluable! It helps enormously to have the feedback needed to get your stories really polished and ready for submission. 

SCBWI offers opportunities to network, access to workshops, and the conferences are a great way to find the resources and support needed to help on the path to publication. 

One of the things I have valued most from being traditionally published is the support from the amazing marketing departments at each publishing house. Marketing and selling your book is hard so, even though I have always done as much marketing and publicity on my own with each book launch, to have that support from a marketing and sales department from a publishing house too, is a valuable boost. 

One of the things about traditional publishing that could fall in the con column is that it’s very difficult to get published with one. I have many manuscripts that have been rejected over the course of my career. It happens a lot! And I suppose that example of one of the downsides to traditional publishing highlights one of the awesome pros of self-publishing…that a writer has control of what gets published! 

“Regardless of which route to publication is taken, there are so many wonderful resources that every writer can tap into to help them on their journey to publication.”

“Joining a writer’s critique group is invaluable! It helps enormously to have the feedback needed to get your stories really polished and ready for submission.”

“SCBWI offers opportunities to network, access to workshops, and the conferences are a great way to find the resources and support needed to help on the path to publication.”

Can you tell us a little bit about your querying/submission journey?

Things have changed so much since I started submitting my work. Back in the “olden days”, (ha!), when I was first starting out, snail mail was how the submission process worked. Prior to sending anything out, I was very careful to read as much as I could about how to submit a story. I learned how to format my manuscript and how to format a submission letter, too. Using the Children’s Writer’s & Illustrator’s Market I made lists of which publishers were accepting unsolicited manuscripts (I did not have an agent at that time) and also which publishers were accepting simultaneous submissions, and which were not. 

I have a very thick folder full of the many rejections I have received over the years. The first story I ever submitted was called The Ladybug. It was rejected many times until one day in 1998 I received an acceptance letter. My very first! I only got halfway through the letter when I cried and jumped up and down and did all the things I thought I would do if I ever got a story accepted! Then I read the rest of the letter. And again I cried. Because the letter went on to explain that even though they had accepted my story for publication (they wanted me to know that!), they had also made the unfortunate decision to move away from publishing children’s books! 

- Oh, what an emotional roller coaster that must have been!-

It would be five years later that I would finally sell my very first story to Spider Magazine. Ironically, that first magazine story I sold took a long time to be published. It ended up coming out after the first book I sold (Noises at Night co-authored with Beth Raisner Glass ABRAMS 2005). 

I got the awesome news that I sold my first picture book on April Fool's Day in 2004 so I had to wait a whole day to tell everyone so they would believe me! 

- How funny! And exciting.-

That submission process was really unique. Noises at Night had come very close to being acquired at a very big house. Unfortunately, in the end, there wasn’t a total consensus and it was rejected. However, one of the editors was moving to Abrams and asked our permission to take the manuscript there. She loved the story, and we were fortunate that it found a home. Timing can sometimes play a very important role in whether something gets acquired or not.

Two more picture books followed but the submission process was much easier for me as my editor at Abrams asked to see other manuscripts, and so just a few emails were exchanged before I had an offer on my second picture book. My third picture book was a work-for-hire. Again, my editor at Abrams asked if I would be interested in working on the project and I said yes. 

By the time my third picture book was out, I was about ready to start submitting my first middle-grade novel, The Upside of Ordinary. After making a lot of rounds and many rejections later, my critique partner suggested I submit it to a former student of hers who worked at Holiday House as an assistant editor. Fortunately, she really loved it as did the publisher! 

-How wonderful!-

I’ve had a pretty eclectic experience when it comes to submissions! One thing has always been consistent though, and that is the road to publication is filled with twists and turns and lots of bumps!


Are you currently agented, and if so, how did you find your agent match? (Was it through cold query/submission, was it during a contest, etc.?)

I do work with an agent who I adore. At one of my writer’s group meetings, I shared a funny picture book that they really enjoyed. One of the members of my group had recently seen a post on a particular agent’s blog who was asking to see humorous picture books. I submitted the manuscript to her. It never did sell but we are still working together almost 11 years and three books later.
 

If comfortable sharing what agent/agency did you sign with?

Linda Epstein who at the time was with an agency in New York but moved to the Emerald City Literary Agency and I went with her.


For writers and illustrators who are actively querying for their agent match, could you tell us about your agent call and what to expect?

My agency query in this particular instance, was very specific in the approach. The post Linda had made on her blog, requesting to see humorous picture books had instructions on how to send a manuscript. I followed those instructions and attached the manuscript right in that first email as directed. She responded pretty quickly and asked to see other manuscripts which I sent back to her right away. 


What types of questions do you find more useful to ask during this call?

One of the first questions I asked Linda when we discussed working together is if she offered editorial feedback. For me, it was very important to have an agent that also could (and would be willing) to provide feedback and suggestions for edits. I think all writers benefit from a second (or third or fourth!) pair of eyes! Especially before something is to head out on submission. 

-Such a great thing to look for in an agent. And wonderful that you knew beforehand what you were specifically looking for.-

Which leads to a second question I think is important: Does the agent submit only exclusively or will he or she submit to multiple publishers all at once. I have heard of agents that will only send out a manuscript to one single publisher at a time even if that publisher will accept simultaneous submissions. That is a process that would not appeal to me, as it often takes so long to hear back from editors.

-Another great thing to know before signing with an agent.-

Asking questions up front before you commit to an agent is important. It’s very exciting to receive an offer from an agent but you want to make sure that the writer and agent are compatible and share similar expectations so that hopefully the relationship is a good fit. Talk to agented writer friends, too. See what their experience has been like and figure out what is important to you regarding a relationship with an agent before you make that choice. 

-Love this advice, Susan. So great!-


How did you know which agent/agency was the right match for you? 

I could tell from our email exchanges that Linda is accessible and responsive (she ALWAYS answers her emails quickly), straightforward, and very honest, the latter meaning if she doesn’t know the answer to something she says so, and will try to find out. Linda is funny, kind and approachable. All great qualities. And all of these things came across in the early days of email exchanges. 

I also had a history with two other agents prior to signing with Linda. Those agents were also very kind and both of those relationships ended amicably. But everyone has different expectations and ways of doing things, and it’s not about whether someone is good or bad but more about whether a particular agent is the right fit for you. 

-Yes, exactly! I think you put that perfectly. It's about finding the "right fit." Just like any relationship, it's about knowing what you want, what your expectations are of each other, then communicating it clearly- which it sounds like you did by the questions you asked- and overall, those factors will show you whether you're compatible or not.-


For people considering traditional publication as their route to publishing, could you briefly describe an agent’s role/relationship with an author and/or illustrator and some of the benefits of having one?

Everything I write, Linda sees and provides feedback before the submission process, so my manuscript is very polished and is in the best shape possible (or at least until an editor asks for revisions!) Linda then puts together and shares with me a list of publishers she will be submitting to. The great thing about working with Linda is that she knows which editors are looking for what and so the submission process becomes very targeted. Having someone do all this legwork for you really frees up so much more time for me to focus on my writing which is a great benefit.

-Linda sounds like a dream agent! And you sound like a dream client, because you're a clear communicator. That's so helpful!-

Another benefit is that there are many traditional publishers that will only look at work from agented authors so having an agent helps to get your manuscript in front of more editors. That of course is a plus because the more people who get a chance to consider your manuscript, the better your chances are (hopefully!) of getting an offer. 

A third great benefit is that I do not have to deal with the business side of publishing. Linda handles all of the negotiations and contract issues, and I am so grateful for that!

HIGHS, LOWS, AND WORDS OF WISDOM

We on the blog LOVE hearing all the wonderful, exciting bits of publishing. But sometimes, hearing the realities of the lows can be helpful too. 

What have been some challenges you’ve faced on the road to publishing? 
And how were you able to overcome these challenges?

I’m dealing with a challenge I’ve never experienced before, right now. I have worked with the most wonderful editor on my new early reader chapter book series Drag and Rex, beautifully illustrated by Blythe Russo. The first book, Drag and Rex Forever Friends, launched in November of 2023 and went into a second printing a few months ago so it’s done quite well. The second book in the series Drag and Rex Sweet and Silly launches in November of 2024. 

Here’s the challenge: the imprint that published Drag and Rex is changing its focus completely and going forward they will not be publishing anymore of their list. That means that I will not be working with my editor and my books will be under a different imprint. This creates a lot of unknowns! 

Will the new editor love the series as much as the other editor? 
Is the threshold for sales higher at this imprint? 
Will they want more books in the series?

My agent has been communicating with the editor at the other imprint (who I have actually worked with before and is lovely!) but no matter what, right now there are still a lot of unknowns. It’s a wait-and-see. 

I am hoping the second book does very well and the series will continue! That’s the best way for me to deal with this unexpected challenge…to hope for the best and to do everything I can to help the book sell very well so the new imprint wants to continue the series.


Any words of wisdom for illustrators or authors who may be facing similar challenges?

Writers don’t have a lot of control when it comes to publishing decisions and unexpected challenges. But we can control our work. I think a great way to handle these stressful unpredictable curveballs is to get back to what we do best…writing! And of course, always hope for the best.

“I think a great way to handle these stressful unpredictable curveballs is to get back to what we do best…writing! And of course, always hope for the best.“

BEHIND THE WRITER’S DESK: WRITING ACROSS GENRES & CREATIVE PROCESS

Let’s talk a bit about the magic that happens behind the writer’s desk. I know you write across genres. Tell us about that. What does writing across genres entail?

I really enjoy writing different types of stories. Each type of story involves a writing process that is different…not in just topic, or target but technique, too. Writing picture books I am always mindful that my story will be illustrated and so the marriage of art and words must be considered; as do page turn and word count. Writing middle-grade novels involves multiple storylines that are more complicated and layered. That is true of MG characters too. My characters in my middle-grade books of course have more mature and complicated problems than my picture book characters. The early reader writing experience for me I used a bit of both PB and MG techniques! I had to consider the illustrations when I wrote Drag and Rex, but I could be a bit more relaxed about word count.  I think what draws me to writing a specific type of book is influenced by what I happen to be reading at the time. Early in my career, I read a lot of picture books. I was reading piles and piles of them first to my children but then also because I just loved reading them so much.  As my kids got older and were reading chapter books…I did too. Now they are 31 and almost 28! But I still love reading children’s books. 


What are some of the pros and cons of writing across genres?  

What advice do you have for writers who are interested in pursuing writing in different areas of kidlit (magazines, middle grade, chapter books, early readers, picture books, etc.)?

I think it’s important and helpful to read the genre or type of book that you are writing. If you are writing a middle-grade novel, then read middle-grade novels. If you are writing YA, read YA books. If you are working on a mystery, read mysteries! There are so many great authors who inspire me, and I love to think about their style and technique and try to figure out what it is I like (or on occasion what I don’t like) about a particular voice or storyline and analyze what makes it work so well. 

Do you have any tips on techniques for writing across genres as well as how to shift gears and mindset from one genre to the next? Explain.

Usually when I write, no matter the genre or type of book I am working on, I always start with a character. My storyline (or lines) develop from my characters. For example, in my latest book Drag and Rex Forever Friends illustrated by Blythe Russo, each character has a very distinct (and extinct!!!) personality. Drag is a dragon who is a bit scatterbrained, a little messy, and very impulsive. Those character traits helped me to develop storylines that involve gobbling up a cake before it can be delivered to a friend, and accidentally, ALMOST ruining a very snowy day. 

Using that technique of developing my characters first, and therefore getting to know them helps me to develop the plotlines in my stories. It doesn’t matter what kind of book I’m writing because each story always needs a character (or two or three or more) and my stories always develop from the characters I create. 

I will also reiterate what I mentioned above and that is to read whatever type of book you are writing. If you are writing a picture book, read picture books. Note the books you really loved and what it was about the style, or tone, or cadence that made it so appealing. 

AUTHOR VISITS

Have you been able to have any author visits? If so, what kind of visit was it (school/library/bookstore, etc)? 

This year because it was a launch year, I did a lot of events at bookstores, libraries, book fairs, conferences, and even a couple of events at a bakery. All of my school visits this year were virtual and took place over World Read Aloud Day (but all week long) I had a terrific book launch last November at Wellesley Books with one of my critique partners, author Anna Staniszewski moderating. I really enjoyed that format and it was a packed house!


What kind of response did you receive?

For the most part most of my events went very well and I had some good turnouts. But even if an event isn’t very busy, I’m always grateful to have an audience big or small to read to. I so appreciate all of the support from so many enthusiastic booksellers, librarians and teachers, and of course the readers and students are awesome!


What’s your favorite part of a visit?

I do love engaging with readers and I especially love the Q & A portion of a visit. Kids are so incredibly curious and smart. And oftentimes they will tell me what they have been reading or about stories they have written.


About how long is a visit and what kind of routine do you have?

Most of my visits are about an hour to an hour and a half. Typically the event starts off with a reading followed by an activity and then a book signing. 


Do you offer any freebies or promo swag?

I always have plenty of bookmarks to hand out and lately some Drag and Rex stickers


For authors or illustrators who may be debuting and not quite sure how to set up these visits or what to do when there, could you share a little bit about the process of how you arrange your visits? Do you reach out to schools/libraries/bookstores- does your agent/editor- or do they reach out to you directly? 

It’s a bit of all of that! I've been doing this for a while so I have several booksellers and librarians that I'm very comfortable reaching out to to set up an event. I think it’s always helpful to consider the timing of the event of course…

For example for picture books and early readers, scheduling a visit during a bookseller’s regular story time is an advantage as usually there's an audience or a regular group that comes to those events every week, and so you have a chance of already having a nice turnout. 

Middle-grade readers can be trickier as readers that age tend to have very busy schedules. In the past I have teamed up with other authors to do book signing tours…having a group of authors at one event can add a bit more buzz and help create a lot of excitement.

There are also times when the publicity manager from my publisher will organize an event for me. Often it will be at a conference, or sometimes at a bookstore where the bookseller has reached out looking to host an event with an author.


Do you have any tips for an author and/or illustrator’s first visit?

With library or bookstore visits, I always try to create more of an event rather than just an author reading (not that reading isn’t exciting on its own of course, but making the appearance sound a bit like a party helps to add to the excitement!) 

For example, at one library event over winter break we had a winter fun theme which tied in with one of the story themes in my new early reader chapter book, Drag and Rex Forever Friends. We served hot chocolate and incorporated an activity. 

Other events were friendship-themed “parties” which included making friendship bracelets after a reading; at one bookstore we hosted a pajama party…I wore mine with my slippers and readers were invited to show up in theirs for a bedtime story. For both Drag and Rex and Lizzy and the Good Luck Girl I have done several very well-attended events at a local bakery. After my reading, the kids toured the bakery and then decorated either a cake or brownie that was tied in with a storyline.

One of my favorite events was after Lizzy and the Good Luck Girl first came out. That book has a subplot that involves the main character and her best friend knitting sweaters for cats to raise money for the animal shelter where they volunteer. (You can guess how that turns out…trying to put a sweater on a cat!) In the end, they knit blankets instead. I did an event at a library where everyone made little patchwork blankets and donated them to the local animal shelter. The shelter volunteers even showed up at the library, and the local paper did a story about it so I received an extra boost of publicity.  

Be creative and have fun!  Think about the themes in your book and how they might tie in with a particular event. 

Now it’s time for BOOKS!

BOOKS, BOOKS, BOOKS!

We’d love to hear about some of your books; from the first concept and inspiration to the final product.

I had actually written the first version of Drag and Rex Forever Friends more than ten years ago. I have always loved the simple storylines in early readers, making soup or raking leaves. I am a huge fan of Arnold Lobel’s Frog and Toad, and James Marshall’s George and Martha and was inspired by these lovely books.  

Drag and Rex started out as Bitsy and Mo and then a host of other names. I had no idea who these characters were supposed to be…a dog and a cat? A rabbit and mouse? They were constantly changing. But I had written two of the stories (though a few details changed once I figured out that they were to be a dragon and T-rex!) and then they sat untouched in a file drawer until the Covid quarantine. I took out the stories, did a bit of tweaking and sent them to my agent. She loved them even though we still didn’t know who the characters were. I decided to set aside trying to figure out who I wanted them to be and thought about instead, who would kids want them to be? And that was how they became Drag and Rex.  Alison Weiss at Pixel + Ink fell in love with these two. The process for finding an illustrator took a very long time…there were actual auditions! Blythe Russo nailed it! Shetruly understood the essence of these two buddies. It was so exciting to see how she brought the pair to life!


Do you have any favorite illustrative spreads? If so, which and why?

There are so many it’s hard to pick just one but I guess if I have to…this one is really extra special. It was one of the first illustrations I saw when the book was in production and I just love how Blythe Russo so perfectly depicted these three friends about to share this yummy carrot cake!

If you had to describe in one sentence what inspires you on a daily basis to pursue writing as a career… what motivates you to put your thoughts and heart on the line and share it with others… what would it be? 

I think I can actually say it in one word: Stories. I love to read, write, and listen to them. I’m so grateful to be a part of this creative kidlit world!


What have been some of your most meaningful or fulfilling projects and what makes them so special to you? 

Each project has had its joys and frustrations. But I think writing Lizzy and the Good Luck girl taught me one of the most important lessons as a writer…and that is… to dig really deep into your main character. To find out what it is your character really wants. For me getting to the heart of my character meant getting to the heart of my story. 


What do you hope others will take away from your books?

I hope readers just enjoy the story. Maybe laugh or feel touched in some way. I never write with the intention to provide a lesson.


Anything special you’d like to share with us today that we may not know?

The second book in the Drag and Rex series, Sweet and Silly (illustrated by Blythe Russo) will be out in the fall of 2024!


What final words of wisdom would you like to share with your readers?

Love what you do, be passionate about your writing and be persistent! All else will fall into place! Remember that there’s always something to learn, too no matter what stage of your career you are at. And finally, the best bit of advice I ever got (I am so sorry I can’t remember where I read it!!!) And that is: allow yourself to write badly. That was a stumbling block for me…that I would type something out then erase it and rewrite and rewrite until I thought it was perfect.  That’s ok to do that too once in a while! But some days allow yourself to just write…and keep going no matter how awful you think it is, magic can happen if you don’t stifle the process.

Thank you so much for joining us today, Susan.
And now… 
It’s time for a GIVEAWAY!

Susan Lubner is offering the following giveaway prizes: (one prize PER winner )

Prize 1: A signed copy of Drag and Rex Forever Friends

Prize 2: A 20-minute virtual visit with the book.

HOW TO ENTER THE GIVEAWAY

• Leave a comment on this post!
• And if you haven’t already, like this post and subscribe to the blog and/or newsletter!

That’s it!

DEADLINE TO ENTER: June 30th 2024, 11:59 PM CST

Please note: if the guest is offering more than one prize, please specify which prize you’d like in your comment.

FAQ:

What if I was already subscribed to the blog? Does that mean I won’t qualify for the Prize Giveaway? Not at all! If you subscribed before this month, all you’ll need to do is LIKE this Feature Interview and leave your COMMENT below this post within the deadline (the current month/year entry was posted).

Did you enjoy this interview?

Thank the author & host by purchasing a copy of one of their books or by requesting it be purchased at your local library! Using the sponsored links below supports this blog.

BOOKS

Drag and Rex: Forever Friends

Drag and Rex: Sweet and Silly

Lizzy and the Good Luck Girl

The Upside of Ordinary

BIO

Susan Lubner grew up in Bangor, Maine but has lived in Massachusetts for most of her life.  She is the author of the early reader chapter book series from Pixel + Ink, Drag and Rex Forever Friends (book 1 fall 2023) and Sweet and Silly (book 2 fall 2024) illustrated by Blythe Russo; two middle grade novels, Lizzy and the Good Luck Girl (Running Press Kids/Hachette Books 2018); and The Upside of Ordinary (Holiday House 2012) and three picture books (Abrams Books for Young Readers 2005, 2006, 2008).  Her stories have appeared in Spider Magazine and Highlights for Children. Susan lives with her husband David and a giant poodle named Bailey. They have two grown daughters. 

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Looking for a specific topic? Browse the list below to find a link to information on one of these topics:

• Where to find FREE and PAID for writing memberships, craft workshops, contests, and other resources.
• How to query agents and editors and what they’re looking for.
• Where to find kidlit community and support from other writers or illustrators.
• Diversity, empathy, and kindness in kidlit and why it matters.
• Writing across genres.

Pros and cons of small publishers, hybrid (or indie) publishing, and being agented VS. unagented.