Your Book In The Spotlight. Two Minutes. What Would You Say?

Awards season comes with acceptance speeches for the lucky winners. Hands shaking with adrenaline and excitement as they unfold the paper so the winner can remember everything they wanted to say in the two minutes they have in front of the microphone before the orchestra plays them off the stage...

Which of course, inspires the exercise: what would you say?

You've worked so hard on your book, it's finally out in the world, and it has this moment in the spotlight.

And while your cheering section is watching, so are people who have never heard of you or your book before. What's your strategy?

Would you read a giant list of names to thank?

Would you share an anecdote about why this book is important to you – and hopefully others?

Would you acknowledge the other finalists?

Read the dedication?

Thank the judges?

Aim to make folks laugh? Cry?

Would you try to do it all?

Or would you do something else entirely?

Two minutes goes pretty fast, and while none of us control whether we'll have this opportunity, I hope it's a fun exercise for you.

Want to see how eight of your fellow #KidLit creators handle their book's moment in the spotlight? The online SCBWI Golden Kite Awards are this Friday Feb 21, 2025 from 4pm-5:30pm Pacific. You can attend for FREE – register here.

On a personal note, this exercise is real for me this year, with my The Gender Binary is a Big Lie a finalist in the Nonfiction for Older Readers category. So I have to prepare something to say... And yeah, that inspired this exercise for you.

Hope you'll join me and so many others in our #KidLit community for the online ceremony!

Illustrate, Translate, and Write On,
Lee

Write the Book of Your Heart... Even If It's Not Sellable?

I'm going to tell you a secret. When I wrote The Song of Orphan's Garden, I had no idea if I would be able to sell it. This book doesn't follow the rules--it's a fantasy in verse, a genre that basically doesn't exist. It incorporates formal poems (in other words, not free verse, but poems that follow strict rules), and I didn't even stick to only the simple poetry forms that most middle grade readers would know, like haikus. No, I put a blitz poem and an awdl gywydd poem in my book! Why? Because I like them. Because, when I started writing this story, I wanted to feel free to play. I experimented. I failed sometimes, but each time, I got closer to something that felt right to me. 

People often ask me why I wrote this story in verse. There's a school of thought that says you should only write in verse for very specific types of books: introspective stories that don't have a lot of external plot. Fantasy worldbuilding in verse is hard--and generally not recommended. So, why did I break all the rules? 

Well, when I get the inevitable question of "why verse?," I point out that my story is certainly more introspective than your average fantasy. The book is about a world falling apart, yes, but it's more about two kids who are trying to keep their hearts and minds (and bodies!) intact while the world crumbles around them. So, there certainly are good reasons this story works well in verse. But the real reason I wrote it that way? Because that's the way it came to me. 

This is the book of my heart. A story born from an image that stuck with me from a favorite childhood picture book ("The Selfish Giant" by Oscar Wilde). That image formed such an indelible imprint on my mind that it still haunted me forty years later. When I began turning that image into The Song of Orphan's Garden, I was writing for myself, partially as a way of processing my own feelings about the divisions and problems we were facing as a country and in the world (I started writing this book in 2019--there was a lot to process). I was already on submission with another book, hoping to hear good news at any time. So, I gave myself permission to write this one exactly the way I wanted without worrying about the MG market or the eventual editor who might read it. 

Of course, you should pay attention to the old adage that says you should know the rules before you break them. 

In the end, I got the book I wanted, and I also got a publishing deal. I can't guarantee that if you write the book of your heart in exactly the way you want to, the same will happen for you. But I can guarantee that you'll learn some things along the way!

Three middle grade books that broke the rules--and sold anyway:

The Bridge to Terabithia by Katherine Paterson - I don't want to be too spoilery in case there are people in the world who haven't read this book yet. (What are you waiting for? You must read it!). Instead, I'll just say this book does not give us the typical happy ending we've come to expect from middle grade. This book made me sob. But I also still think about it 40 years later.

Everything Sad is Untrue by Daniel Nayeri - This book is told in an unusual non-linear format, jumping between the present and memories, and incorporating myths as well.

Mightier Than the Sword by Drew Callander and Alana Harrison - This fun novel includes interactive elements where the reader completes puzzles, draws pictures, fills in words, and more!

Need a laugh? Or maybe a primer on how NOT to pitch an editor?

Check out this hilarious (and somewhat awkward) roundup of stories from children's book editors on the most inappropriate places and times they received a pitch...

Children’s Editors on the Worst Places They Were Ever Pitched

During a root canal? At a funeral? Being stopped at security in an airport (when the editor was late to their flight)? Those all really happened. 

Meeting an editor in real life and wanting to pitch them does not mean you should. Empathy, people. Imagine if YOU were a children's book editor. Would you really want to be pitched while you were in the middle of labor? (And, by the way, if you do pitch an editor at a terrible time for them, you're not actually helping the chances of your work being seen in a good light.)

Thanks to Diane Roback at Publishers Weekly for pulling these together - and to the gracious editors who were able to look back with a sense of humor!

Illustrate, Translate, Write – and appropriately pitch on!
Lee

Making the Most of Publishing Conference Contacts

With the SCBWI annual Winter Conference having just finished (in-person) and being just around the corner (online), I thought this was an ideal time to talk about how you can make the most of the contacts you make with agents and editors at this type of event.

First of all, I have to mention that I am a true SCBWI success story. I met my agent (Deborah Warren of East West Literary) at a regional SCBWI conference. I queried her shortly after and signed with her a few months later. It was a perfect match!

The Song of Orphan's Garden
by Nicole M. Hewitt

My agent story

So, how did this come about? My agent was closed to submissions, but she occasionally attended conferences and always allowed conference attendees to query her. I was able to use a special subject line to indicate I'd attended the conference. I also referenced her pitch session in my email and thanked her for the valuable information she shared. But, most importantly, I tailored my pitch based on what she shared. At the pitch session, Deborah indicated that she specifically likes to hear why the book you’re submitting is the book of your heart—why this is a book only you could write. This isn’t information most agents want in a query, and I normally would not have included it. But, of course, since she said this is something she looks for, I added a heartfelt message to my query with a note that it was specifically included for her. It worked! She requested a full and eventually signed me. 

My road to publication was still a little rocky (that book was shelved after being out on submission for some time), but I didn’t give up. Two weeks ago I debuted with my middle grade fantasy-in-verse The Song of Orphan’s Garden.

How to Best Leverage Your Contacts:

Here are a few tips:

Utilize agent/editor critiques

Many conferences give you the opportunity to get a critique from an industry professional. These often cost a little extra, but they can be invaluable. Getting feedback on a query and first pages can help you ensure your eventual submissions will be the best they can possibly be.

Don’t wait for perfection

Sometimes we avoid feedback until we’re “finished” with a manuscript because we don’t want to submit less-than-perfect work. But receiving notes earlier on in the process can give you valuable insights that might help shape your story arc far beyond those first pages.

Before I had even completely finished my first draft of The Song of Orphan’s Garden, I took advantage of an opportunity to get editor feedback on my first pages and synopsis. I hesitated because it felt early in the process, but it turned out to be a good strategy. The editor pointed out a possible flaw in the storytelling (based on my synopsis) that greatly affected my planned climax. Because I hadn’t yet written the full book, I was able to brainstorm ways to avoid the pitfall—and I didn’t have to rewrite half the book to do it. I can say without a doubt that my final novel is much better due to this change. 

Don’t get me wrong, I’m not saying you should submit work that hasn’t been polished or well-thought-out (I had written a good portion of the manuscript before submitting and worked for a long time on those first pages and my synopsis to make them the best they could be), but don’t fall into the trap of feeling like your work has to be perfect before an editor or agent can see it

But make sure you're ready before you hit send.

Most agents and editors will give you a timeframe (often up to a few months) during which you can send them a query—they want you to use the wisdom and knowledge you’ve gained from the conference to improve your manuscript before you send it. You don’t have to rush to query just because you attended. Take the time to digest and incorporate any feedback you’ve received and apply what you’ve learned.

Listen carefully and take notes!

Pay attention to industry professionals' wisdom and reference it in your query, if possible. As I mentioned, I tailored my query specifically to my agent’s desires. Agents and editors will often give you clues about what they’re looking for, what they (specifically) like to see in a query, and what piques their interest. Pay attention. Take notes. And then, if your work aligns with their wishlist, query and make sure to mention the wisdom you gained from them! If you spoke to the agent or editor in person or they did a critique for you, mention something from the conversation or critique. Any connection you make will help you stand out.

 Also, hold onto your notes and organize them for future reference. Wishlists may change but most wisdom does not. You never know when a connection might help you later.

Format your submission emails properly

This seems like a silly detail, but it’s important. There is almost always a special way to query agents and editors after a conference, indicating in your subject line that you attended. This is an incredibly valuable benefit. If you’ve done any research, you know that agents and editors get hundreds, if not thousands, of queries in their inboxes. This special wording will elevate you above the slush pile and get your query the added attention that just might be the edge you need. Make sure you read each agent’s and editor’s instructions thoroughly and follow the instructions given when you query so you don’t lose out on that benefit.

The publishing industry is tough to break into, so authors need to use every advantage presented. Who knows, maybe that next agent or editor you meet will be the one yes you need!

Nicole M. Hewitt is an active member of SCBWI Illinois, where she's a co-rep for the Far North Suburban Network. She has been blogging about books (mostly MG and YA) for the past twelve years over at Feed Your Fiction Addiction. Nicole's debut middle grade fantasy novel-in-verse, THE SONG OF ORPHAN’S GARDEN released in January of 2025 and was chosen as a Junior Library Guild Gold Standard Selection.

 

 

The SCBWI Golden Kite Award Finalists!

It was announced at this past weekend's SCBWI Winter 2025 In-Person Conference in New York City, and here are the finalists!

Congratulations to everyone whose books made it onto these lists - what a great reading list!

Picture Book Text

The Man Who Didn't Like Animals by Deborah Underwood (Clarion)

The Night Market by Seina Wedlick (Random House Studio)

The One & Only Googoosh by Azadeh Westergaard (Viking)

Emergency Quarters by Carlos Matias (Katherine Teagan Books)

Small Things Mended by Casey W. Robinson (Rocky Pond Books)

Picture Book Illustration

Eloisa's Musical Window illustrated by John Parra, written by Margarita Engle (Atheneum)

Joyful Song: A Naming Story illustrated by Susan Gal, written by Leslea Newman (Levine Querido)

The One and Only Googoosh written and illustrated by Azadeh Westergaard (Viking)

Rumi, Poet of Joy and Love written and illustrated by Rashin Kheiriyeh (NorthSouth Books)

Home in a Lunchbox written and illustrated by Cherry Mo (Penguin Workshop)

Middle Grade 

The Bletchley Riddle by Ruta Sepetys and Steve Sheinkin (Viking)

The Deadly Daylight by Ash Harrier (Holiday House)

Finn and Ezra's Bar Mitzvah Time Loop by Joshua S. Levy (Katherine Teagan)

The Other Side of Tomorrow by Tina Cho, art by Deb JJ Lee (HarperAlley)

A Two-Placed Heart by Doan Phuong Nguyen (Lee and Low)

Illustrated Older Reader

Uprooted: A Memoir About What Happens When Your Family Moves Back by Ruth Chan (Roaring Brook Press)

Fake Chinese Sounds by Jing Jing Tsong (Kokila)

The Monkey King and the World of Myths: The Monster and the Maze by Maple Lam (Penguin)

Rover and Speck by Jonathan Roth (Kids Can Press)

Meet Me On Mercer Street by Booki Vivat (Scholastic)

Wagnificent by Bethanie Murguia (Roaring Brook Press)

Nonfiction Older Reader

Rising From the Ashes by Paula Yoo (Norton)

Spirit Sleuths: How Magicians and Detectives Exposed the Ghost Hoaxes by Gail Jarrow (Calkins Creek)

The Gender Binary is a Big Lie: Infinite Identities Around the World by Lee Wind (Zest Books)

Uprooted: A Memoir About What Happens When Your Family Moves Back by Ruth Chan (Roaring Brook Press)

Virus Hunters: How Science Protects People When Outbreaks and Pandemics Strike by Amy Cherrix (HarperCollins)

Nonfiction Younger Reader

Comet Chaser by Pamela S. Turner (Chronicle)

Ida B. Wells Marches For The Vote by Dinah Johnson (Christy Ottaviano Books)

One Day This Tree Will Fall by Leslie Barnard Booth (Margaret K. McElderry Books)

The Painter and The President: Gilbert Stuart's Brush with George Washington by Sarah Albee (Calkins Creek)

Fighting with Love: The Legacy of John Lewis by Lesa Cline-Ransome (Paula Wiseman Books)

Young Adult

Sync by Ellen Hopkins (Nancy Paulsen Books)

Girls Like Her by Melanie Sumrow (Balzer + Bray)

Trajectory by Cambria Gordon (Scholastic)

Kill Her Twice by Stacey Lee (Putnam)

The Breakup Lists by Adib Khorram (Dial)

Sid Fleischman Humor Award

On a Wing and a Tear by Cynthia Leitich Smith (Heartdrum)

Harriet Tells the Truth by Elana K. Arnold (Walden Pond Press)

The Truth About Fifth Grade by Kim Tomsic and Mark Parisi (HarperCollins)

The Great Zoodini by PJ Gardner (Balzer + Bray)

And on a personal note, it's thrilling to see my own The Gender Binary Is a Big Lie on the finalist list for Nonfiction Older Reader!

Everyone is welcome to attend the live online awards ceremony, save the date and time: February 21, 2025 at 4pm Pacific/7pm Eastern.

Illustrate, Translate, and Write On,
Lee

Revise with Confidence with Quick Fixes for Common Manuscript Issues

Discover practical, simple strategies to identify and resolve issues in your children’s book draft, ensuring it captivates young readers and aligns with today’s publishing standards.

As children’s authors, we carry the enormous privilege of shaping young minds through story. But transforming a bright idea into a polished manuscript that resonates with children isn’t always smooth sailing. For this final guest post, I wanted to share some practical ways to help you troubleshoot your manuscript and ensure it connects with readers in a meaningful way.

Finding Your Why

Every story begins with a spark, but sustaining that fire through the long journey of writing and revising requires a clear sense of purpose. Why this story? Why are you the one to tell it? And what do you hope your readers will take away?

Eyes That Speak to the Stars 
by Joanna Ho

Your “why” is more than just a guiding light—it’s the emotional core that keeps your story authentic. In the book, The Rabbit Listened by Cori Doerrfeld, the heartfelt exploration of empathy and emotional resilience stemmed from the author’s reflections on personal grief. Similarly, in Eyes That Speak to the Stars by Joanna Ho (2022), the theme of self-acceptance is woven seamlessly into a narrative that uplifts Asian representation. A strong sense of purpose helps focus your manuscript and inspires young readers to connect deeply with your message.

Understanding Your Ideal Reader

Picture your ideal reader. How old are they? What are their fears, joys, and questions? Tailoring your story to a specific child ensures it has focus and emotional resonance. The eight-year-old who devours middle-grade adventures in Maya and the Robot by Eve L. Ewing (2021) differs from the toddler captivated by the bold imagery and sparse text of Peekaboo Farm by Camilla Reid (2020). Writing for a clear audience helps you create relatable, impactful characters and situations.

Crafting a Strong Main Character

A child’s connection to your book often hinges on your protagonist. Is your main character driving the story? Are they making decisions, solving problems, and experiencing growth? Children want to root for someone who reflects their dreams and struggles. In Amy Wu and the Warm Welcome by Kat Zhang (2022), Amy’s relatable desire to include a new friend while staying true to herself is a perfect example of an active and endearing protagonist.

Incorporating Conflict and Resolution

Big Feelings by Alexandra Penfold
and Suzanne Kaufman

Conflict is the beating heart of your story’s tension. Whether it’s internal, external, or a mix of both, the challenges your character faces should feel authentic and age-appropriate. Look at Big Feelings by Alexandra Penfold and Suzanne Kaufman (2021), where the characters navigate complex emotions like anger and frustration in a way that’s engaging and comforting for young readers. Build suspense and drama, but always guide your readers toward a satisfying resolution. 

Balancing Text and Illustration

For illustrated works like picture books and graphic novels, the partnership between text and visuals is paramount. The words should complement the illustrations, leaving space for the art to enrich the storytelling. In I Talk Like a River by Jordan Scott and Sydney Smith (2020), the poetic narrative and evocative illustrations work together to depict the emotional journey of a boy overcoming his stutter. Let your illustrator—even if that’s you—carry part of the storytelling load.

Adding the Element of Surprise

The Barnabus Project 
by The Fan Brothers

Children’s books thrive on delight and discovery. Does your story contain twists or moments that catch readers off guard? The Barnabus Project by The Fan Brothers (2020) captivates with its unexpected turns in an underground world of failed animal experiments, keeping young readers guessing until the end. Surprises, whether they're humorous or poignant, enhance the story’s memorability and make it an enduring favorite.

Choosing Words Carefully

Every word in a picture book carries weight, and brevity is your ally. Are your sentences efficient and evocative? George Saunders’ advice in A Swim in a Pond in the Rain applies well here: “Every element should be a little poem, freighted with subtle meaning that is in connection with the story’s purpose.” Modern picture books like Outside, Inside by LeUyen Pham (2021) demonstrate how concise text can evoke complex emotions and vivid imagery. 

Showing, Not Telling

Bring your story to life by dramatizing events rather than explaining them. Sensory details and emotional cues invite readers into your world. In Blue Floats Away by Travis Jonker (2021), the gentle yet vibrant description of a melting iceberg’s journey immerses children in an environmental tale without overexplaining. Draft expansively, then pare down to essential, evocative language.

Leveraging Mentor Texts

The Year We Learned to Fly 
by Jacqueline Woodson
and Rafael López

Even experienced writers benefit from mentor texts. What five books resonate with your story’s tone, theme, or style? Recent works like The Year We Learned to Fly by Jacqueline Woodson and Rafael López (2022) or How to Catch a Clover Thief by Elise Parsley (2021) offer valuable insights into pacing, language, and narrative structure. Let these books inspire you as you refine your manuscript.

Pressure Test Your Prose By Reading it Aloud

The ultimate test of a children’s book is how it sounds when read aloud. Share your story with a trusted friend or a young reader. Are the rhythms engaging? Do the words flow effortlessly? Listening to yourself read can reveal clunky phrasing or uneven pacing, helping you polish the manuscript to perfection.

Diagnosing Common Issues

If your manuscript isn’t quite landing, step back and reassess. Are the stakes high enough? Is the theme clear? Are the language and concepts age-appropriate? Troubleshooting is about asking hard questions and being open to change. As you work, remember: every great book began as a messy draft once upon a time.

The American Library Association Announces Their 2025 Youth Media Award Winners

 

In addition to being these librarians' picks for the best books in each category, the ALA's 2025 Youth Media Award winners list is also a great way to be 'up' on the acclaimed books in the category you're working in.

And don't just check out the winners - explore the honor books as well.

Oh, and remember, just because a book—maybe your book—isn't on the list, that doesn't mean it doesn't have value. It doesn't mean it's not someone's favorite book. It just means other books rose to the list-makers' attention and delight. More on this here.

Given the millions (no exaggeration) of books published each year, award lists (like bestseller lists, or 'best of' lists) are helpful, but they are not the only fantastic books in each category.

Here's to working on our own fantastic books!

Illustrate, Translate, and Write On,
Lee

How to Ensure Your Story Has Heart

The art and craft of writing children's books that create lasting connections with readers

With Valentine's Day on the horizon, I thought I'd go a little deeper into the concept that's already top of mind for many of us kidlit folks this time of year: Heart.

Every story, regardless of genre or audience, has a core—a central truth that resonates long after the last page is turned. For children’s authors, understanding and amplifying that truth is the difference between a story that’s merely read and one that’s cherished. The heart of your story isn’t just its plot or characters; it’s the emotional core that ties everything together and lingers with your readers.

The heart of a story is what moves readers, captivates them, and makes them feel seen. It’s the universal theme or emotional truth that beats beneath every action, every decision, every turn of the page. Stories with heart aren’t necessarily sentimental, but they are always deeply felt. They have the power to connect across ages and experiences—something especially important in writing for children, where stories often become foundational in shaping a reader’s worldview.

What the Heart of Your Story Is (and Why It Matters)

I Love You For Miles and Miles,
by Alison Goldberg,
illustrated by Mike Yamada

The heart of your story is the "why" behind the "what." It’s the deeper meaning that drives the narrative forward and gives it purpose. Without heart, even the most intricately plotted story risks feeling hollow. The heart is what transforms a sequence of events into a journey worth taking.

When we talk about heart, we’re talking about what your story wants to say at its most essential level. Maybe it’s about the courage it takes to stand up for yourself, the bittersweet beauty of letting go, or the enduring power of friendship. Whatever it is, it’s the thread that ties your story together. For children, who often experience books on both an emotional and formative level, stories with heart create a safe space to explore big feelings and complex ideas.

Stories with heart aren’t just memorable—they’re meaningful. They give your readers something to hold onto and reflect on, long after they’ve finished the book. That’s why identifying and staying true to the heart of your story is so important. It’s your north star, guiding every choice you make in your writing.

Finding the Heart of Your Story

Identifying the heart of your story begins with asking the right questions. Start by digging into your character’s journey. What is their deepest struggle? What do they long for, and what stands in their way? Look beyond the surface of your plot to uncover the emotional truths driving your story forward.

1. Examine Your Character’s Arc: Every story has a character who changes—maybe in small ways, maybe in big ones. What is your protagonist learning? How are they growing? These internal shifts are often a direct reflection of your story’s heart. If your main character discovers the courage to be themselves, your story’s heart might center on authenticity or bravery.
2. Consider the Central Conflict: Look at the challenges your character faces. Conflict isn’t just about external events; it’s often a mirror for the emotional stakes of the story. For instance, a quest to find a lost treasure might also be about finding self-worth or discovering the value of connection.
3. Ask Yourself "Why": Why are you writing this story? Why does it matter to you? The stories we write often come from a deeply personal place. If you can identify what drew you to this idea, you’re already on the trail of its heart.
4. Think About Your Audience: What do you want your readers to feel when they close the book? How do you hope your story will resonate with them? Whether your readers are toddlers, teens, or somewhere in between, your story’s heart should offer something that feels true to their world.

Writing With the Heart in Mind

Pokko and the Drum,
by Matthew Forsythe

Once you’ve found the heart of your story, the next step is weaving it into every element of your writing. Think of it as an invisible thread that holds the narrative together. Every scene, every character decision, and every word should serve this central truth.

Anchor Your Plot: Make sure your story’s heart drives the action. If your story is about belonging, each plot point should reflect your character’s struggle to find their place.
Deepen Your Characters: A story with heart requires characters who feel real. Their actions, decisions, and even mistakes should all stem from the emotions at the core of the story.
Refine Your Language: Choose words that carry weight. In picture books, every word matters—lean into language that amplifies the emotions you’re trying to convey. For longer works, like middle grade or YA, take the time to create moments of emotional resonance within the narrative.
Revisit and Revise: As you revise, keep the heart of your story front and center. Ask yourself: Does this scene strengthen the emotional core, or is it pulling the story in a different direction? Revision is where the heart of a story often emerges most clearly, so don’t be afraid to cut what doesn’t fit.

Why Heart Matters Most of All

Children’s literature has the unique ability to nurture empathy, curiosity, and connection. When we write stories with heart, we’re giving readers a mirror to see themselves and a window to see others. Whether it’s the simple, powerful message of a picture book or the layered complexity of a young adult novel, a story with heart is one that readers carry with them.

Your story’s heart is something you return to again and again throughout your writing process. It’s what makes your story yours. It’s what makes your story matter, not just on Valentine's Day, but every day of the year.

Cara J. Stevens is a writer, editor, and book coach with over 20 years of experience in children’s publishing. Based in Los Angeles, she specializes in helping writers craft their stories across genres, offering services in developmental editing, book coaching, and creative workshops. Cara served as the 2023 SCBWI-L.A. Mentor, and contributes frequently to Kite Tales, the SCBWI Southern California blog. Her most recent children’s book is the Mean Girls Little Golden Book, illustrated by Viven Wu and Chivaun Fitzpatrick (Little Golden Books). She has been an SCBWI member since 1996. Her podcast, Picture Perfect, features interviews with kidlit professionals and quick writing tips, and can be accessed on most podcast streaming platforms. Learn more at carajstevens.com.