Ann Ralph on the Joys of Fruit Trees, Taking Care of Mother Earth, and How to Get a Book Deal Writing About Something You Love
We first met Ann Ralph when she won our Pitchapalooza with one of the greatest elevator pitches we’ve ever heard: The Elements of Style for fruit trees. It made total sense even as it was counterintuitive. It communicated something so clearly, with such economy, intelligence and style. She also presented it in such a smart, relaxed, fun and yet information-packed way you couldn’t help but sit up and pay attention. Plus, who doesn’t love a great fruit tree? So now that her book Grow a Little Fruit Tree: Simple Pruning Techniques for Small-Space, Easy Harvest Fruit Trees is out, we thought we’d pick her brain and find out exactly how she did it.
To read this interview on the Huffington Post, click here.
The Book Doctors: How is your garden?
Ann Ralph: The garden is thirsty, but so far, so good. These dry winters are unusual and scary. Long, dry summers are nothing new. In most of California rain stops in May and won’t start again until November. I planted with this in mind. The plants on a hot bank behind my house do entirely without summer water. The roadside tree trimmers left behind a huge pile of chipped prunings last fall. This stuff is gold to me. I applied it as a deep mulch around my fruit trees and ornamentals. Mulch helps tremendously with transpiration. I water my established fruit trees only about once a month. Mulch improves soil quality and sequesters carbon, too.
TBD: How did you get started as a writer?
AR: Nursery work was meant to be a placeholder until I got a real job. I got waylaid in a composition class on the way to a respectable career, then abandoned pretense for the work I liked, low pay, the outdoors, a cavalcade of interesting questions, great people, and writing in my off hours.
TBD: What are some of your favorite books and why?
AR: However beautifully rendered, nonfiction is constrained by facts. I get more sustenance from the truth in fiction: I think of the Salman Rushdie character who cooks grievances into her chutneys. I wish everyone would read All the King’s Men, A Passage to India, and A Place on Earth. When our president quotes Marilynne Robinson, I feel sure we’ll be okay.
TBD: How did you get started as a fruit tree enthusiast? What are some of your favorite fruit trees and why?
AR: I grew up in the San Joaquin Valley. We were awash in fresh fruit all year long. I went out the front door for Meyer lemons. Neighbors left bags of nectarines on the front porch. Teachers, like my dad, graded and weighed peaches for Del Monte in the summertime. He brought home leftover lug boxes full of fruit. My mother canned peaches and apricots to tide us over until summer came again. I had no idea how good we had it until I left California for New York. This last weekend I visited friends in Ripon and came home with a huge box of tree-ripe grapefruit. There is never too much grapefruit at my house.
TBD: What were some of the joys and difficulties of taking your passion and turning it into a book?
AR: I had a good idea about what made fruit trees confusing and difficult for people, and what was missing from existing books on the subject. Storey asked me to double the content. How right they were! Every step in the process led to a better book. The photography was more complicated than I expected it to be. Marion Brenner was generous with her time and up for anything. The trees, weather, light, and backgrounds weren’t as cooperative. The photos took another year, the design a third. I sometimes despaired that I’d ever see the thing in print.
TBD: You’ve gotten some wonderful reviews. What did you do to promote and market the book?
AR: Storey Publishing has reach into the book business I could never have managed on my own. My sister has been a buyer for independent bookstores for thirty-five years. She drilled into me a sense of my shared responsibility for the book’s promotion. I knew my audience. I also knew I had a book that people needed and would want to buy. I have great garden connections from Berkeley Horticultural Nursery. I’m easily evangelical on the subject of fruit trees.
TBD: The environment is going through some terrible times. What do you think are some solutions to bring back a balance with nature?
AR: Humans wield a lot of clout in the natural world. The organics now in markets are there because we wanted to buy them. We can look to decisions we make everyday, regarding packaging for one. We’re drowning in plastic. Recycling is better than nothing, I suppose, but recycling plastics is a dirty business. I make yogurt at home. Its deliciousness aside, this small action by one person eliminates a need for hundreds of plastic containers. The environment doesn’t exist apart from us. We’re in the thick of it. For good or ill, we build it as we go.
TBD: How did you get a book deal?
AR: The Book Doctors pulled my name out of a hat at a Pitchapalooza at Book Passage in Corte Madera. They liked my pitch. I shopped a proposal around to several publishers with interest but without success, always on the heels of another fruit book. Arielle took the idea to Storey Publishing. I strengthened the proposal based on information from The Essential Guide to Getting Your Book Published. I’m sure that made the difference. I’m not just saying this because the Book Doctors happen to be asking the question. It’s true.
TBD: What advice do you have for fruit tree growers?
AR: Keep your fruit trees small enough to manage. I wish I could take credit for my favorite pruning advice. It came from a UC Davis seminar, “If you don’t know what to do, cut some stuff out.” Fruit trees are forgiving. If you goof it up, they give you another chance.
TBD: What advice do you have for writers?
AR: Let’s leave fruit advice to me and writing advice to Anne Lamott.
Ann Ralph is the author of Grow a Little Fruit Tree: Simple Pruning Techniques for Small-Space, Easy Harvest Fruit Trees. Publisher’s Weekly called the book “a thrilling read for the backyard farmer.” She is a fruit tree specialist with 20 years of nursery experience. She lives in the Sierra Foothills near Jackson, California.
Winning Pitchapalooza by Gloria Chao
This is originally from a great website called Novel Pitch.
Gloria Chao was the winner of the 2015 Pitchapalooza contest put on by The Book Doctors. She and I connected via twitter. The following is her experience from the event.
I am honored that NovelPitch has invited me to share my experience pitching in The Book Doctor’s 2015 Pitchapalooza contest. I’m a strong supporter of writers helping writers, and am excited to give back (though I wish I could give more!) to the community that has helped in my journey thus far. Thank you, Ralph, for your Novel Pitch efforts, and thank you, fellow writers, for your constant support.
I heard about the Pitchapalooza contest through Twitter and submitted my query. Based on The Book Doctors’ comments, I believe my pitch stood out because of the specifics—namely, the wording and humor. Since my novel is multicultural, I used words that gave a taste of Chinese culture, e.g. “sticking herself with needles” and “fermented tofu.” I also highlighted the wacky characters with phrases such as “expiring ovaries,” “unladylike eating habits,” and “Taiwanese Ivy Leaguer.” I think capturing the manuscript’s voice in the query was why my pitch was chosen.
Winning Pitchapalooza gave me confidence and the courage to keep fighting. It also helped bring my manuscript to the next level. I had struggled with my genre, pitching NA contemporary for the contest. The Book Doctors helped me realize this was the incorrect categorization, pointing me toward adult with suggestions to age up my manuscript by changing from first person to third. This released a flood of ideas, and I spent the next several months rewriting—adding 24K words, changing the POV, and writing with a women’s fiction audience in mind. I ended up with a manuscript that finally felt right.
The journey to publication is infamous for being long and relentless, but enjoying the small accomplishments along the way (and the writing, of course!) is what keeps me motivated. Putting ideas into words, sharing work with others, getting a personalized rejection, receiving a request, winning a contest—these are all achievements that require courage and are worth celebrating. And the writing community, including myself, will always be happy to celebrate with you!
Here are some of my tips for making your query stand out:
- If you’re new to querying, check out Query Shark, published authors’ blogs, Writer’s Digest, and craft books.
- Keep the 250 word count in mind, but only at the end. When you first start, just write. You’re more likely to have gems if you’re whittling down.
- Avoid clichés, generalities, and obvious stakes. Use unique words to convey your voice (and do this in your manuscript as well).
- Cut out every word that’s not essential. Too much detail bogs the story down.
- When you think your query is ready, get fresh eyes on it—family (my husband read a thousand versions of my pitch), friends, and other writers you meet through Twitter. Start with those familiar with your book, then end with people who know nothing about it. The latter will help identify confusing elements and will let you know if the pitch as a whole is not grabbing enough. Then, seize every critique opportunity by entering contests.
You can read Gloria’s winning pitch for AMERICAN PANDA here.
About Gloria:
I earned a bachelor’s degree from MIT and graduated magna cum laude from Tufts Dental—the perfect Taiwanese-American daughter. Except I wasn’t happy. To get through practicing dentistry, I wrote. It took years to gather the strength to push my dental career aside, against my parent’s wishes, to pursue writing full-time. Our relationship suffered, but my most recent novel, AMERICAN PANDA, strengthened our bond by forcing me to ask questions I never dared before. Now, my mother and I laugh about fermented tofu and setups with the perfect Taiwanese boy (though I think she still worries about my expiring ovaries).
You can find out more about Gloria at her website and on twitter.
Website: https://gloriachao.wordpress.com/
Twitter: https://twitter.com/gloriacchao
Lance Rubin on Harry Potter, the Stinky Cheese Man and How to Get Your Debut Novel Published
One of the fun things about being a Book Doctor is that we get to travel to cool places and meet cool people. If you haven’t been to San Antonio, do yourself a favor and go. It’s a beautiful city. The San Antonio Book Festival was really a blast: great authors, great craft stuff for Olive, our daughter, and most importantly, lots of readers. While we were there, we met Lance Rubin at the party they have for authors. He explained what his first book is about, and it’s great. We decided to pick his brain about writing, publishing, and how he got his first book deal. To read on the Huffington Post, click here.
The Book Doctors: How did you get started as a writer?
Lance Rubin: Since I was eight years old, I always thought I was going to be a professional actor. So the writing I did through most of my life was often in service of that. When I was younger, I wrote skits and short films with friends that we would perform. In college, I wrote and performed a one-man show. After college, I co-wrote and performed a sketch comedy show called The Lance and Ray Show at the Upright Citizens Brigade Theatre. Then, several years ago, I was finding my acting career frustrating and unfulfilling right around the same time I read The Hunger Games. I really loved it, and I thought, “Maybe I’ll try to write a YA novel.” It wasn’t a fully rational decision, but I started writing, and I was having such a good time–feeling empowered and creatively fulfilled in new, exciting ways–that I kept at it. Even though I hadn’t written long-form fiction before, I think all the various writing I’d been doing my whole life completely informed this book.
TBD: What are some of your favorite books and why?
LR: Some favorites include:
The Harry Potter series by J.K. Rowling. Such brilliant storytelling: magical situations always grounded in humanity; a complex story that weaves and intertwines through seven books; humor that comes from a place of love; and fully fleshed-out characters who truly care about each other. I could go on and on. Anyone who’s been resisting reading these is a fool.
The Amazing Adventures of Kavalier and Clay by Michael Chabon. Not only does Chabon spin the most delightful, acrobatic sentences, but he tells a completely engaging story of friendship, love, comic books, WWII, and superheroes.
The Spontaneous Fulfillment of Desire by Deepak Chopra. This nonfiction is all about the power of coincidences and synchronicity. I try to read it every couple years because it makes life more fun; you start to find coincidences everywhere, like a code from the universe you have to solve.
The Stinky Cheese Man and Other Fairly Stupid Tales by Jon Scieszka and Lane Smith. When I first read it as a kid, it made me aware of the way books can subvert narrative expectations and make you laugh out loud.
TBD: How did being a professional actor help and/or hinder you as a writer?
LR: As an actor, I was always trying to get inside the head of a character, figure out how that character thinks and responds to the world. When I started writing this book, with its first-person narrator, I realized there was a surprising amount of overlap, as I was essentially doing the same thing: figuring out how the main character (and all of the other characters, too) thinks and responds to the world. And it was even better because now I got to actually come up with what the characters say! That said, since I come from the world of acting and comedy, I’m often so focused on dialogue that the descriptive parts of my writing are severely lacking. But hey, that’s what rewriting is for!
TBD: The idea for your new book, Denton Little’s Deathdate, is so cool. How did you come up with it?
LR: I think about time a lot. I’m always taking inventory of my life in terms of dates. I’ll think things like, “What was going on in my life a year ago today? Two years ago today? Three?” And so on. And I’m usually able to remember. So one day I thought, “What if I could take inventory of my life in terms of a future date? Specifically, themost important date, the day I’m going to die?” I wondered how this would change the way I lived. Or if maybe it wouldn’t change a thing. And then I thought, “What ifeveryone knew the day they were going to die?” So then there was the idea: in a world where everyone knows their deathdate, the protagonist is going to die tomorrow. That was pretty much all I had for a few years. The rest came later.
TBD: How did you go about getting a book deal?
LR: I just Googled “book deal,” clicked on the first link that appeared, and signed up! Isn’t that how it works for everybody?
Apologies for that dumb joke. I did have a relatively charmed journey to a book deal, as my best friend since I was three, Zack Wagman, has worked in publishing for over a decade and is a brilliant editor, currently at Ecco. He was one of a handful of close people in my life who read the first draft of my book and gave feedback, and then was one of a duo of close people in my life (along with my wife, Katie Schorr) who gave feedback on the three or four subsequent drafts over the next year. Finally, once I had a draft that was in solid shape, Zack connected me to agent Mollie Glick at Foundry Literary + Media, who responded to the book and signed me. (I know getting an agent is not supposed to be such a smooth process, so I understand if writers out there want to spit in my proverbial soup. I’ve faced a ton of rejection in my life, too, if that makes you feel better. See: abandoned acting career.) Mollie is terrific, and she guided me through one last big rewrite before submitting to various publishing houses. In November 2013, Denton was sold to Knopf Books for Young Readers.
TBD: What was it like working with your editor?
LR: Super. I feel so fortunate that I ended up working with Nancy Siscoe. She’s smart and kind and funny, and she loves all the same things about my book that I do. By the time she got my first book, it had already been rewritten a lot, so her changes were minor but really insightful as to things that would make the story clearer and more satisfying. My second book, which comes out in April 2016, was pretty much a mess when she got it. So I was truly relieved when I received her pages and pages of single-spaced notes and they all resonated with me. It was like, “Oh man, she has great ideas about how to make this less of a mess. Thank god.”
TBD: We’re intrigued by the musical you’re writing. What exactly is Annie Golden: Bounty Hunter, Yo!?
LR: Hey, thanks for asking! It’s a musical I co-wrote with Joe Iconis and Jason “SweetTooth” Williams about a veteran musical theater actress named Annie Golden (to be played by veteran musical theater actress Annie Golden, known to many as Norma on Orange is the New Black) who gets pulled into the world of bounty hunting and starts kicking ass in ways she never imagined she could. It’s a comedy highly inspired by exploitation movies of the 1970s and ’80s–both story-wise and musically–but it’s also about breaking out of the boxes society puts people into. It’s been an exciting project to work on. We’re hoping it will have its first production in the not-so-distant future.
TBD: Did you outline your book before you started writing? What kind of a routine do you have as a writer?
LR: Thus far in the two books I’ve written, I haven’t outlined before starting my first drafts. I generally have some broad ideas about where the story might go and a page or two of notes on characters and potential plot points, but then I just start writing and discover as I go. In the case of my second book, I got about 15,000 words in, realized I hated where the story was going, scrapped it, and started again. Outlining might have helped me avoid that, but it’s still the way I prefer to work.
As far as writing routine, I have several coffee shops and libraries that I bounce between. Last year, I worked almost exclusively at the Tea Lounge in Brooklyn. Then it closed out of nowhere in December, which was quietly devastating. I now keep a rotation of several spots because I’m not gonna get hurt like that again.
When I’m working on a first draft, I’m always aiming for word count, which was something I took from Stephen King’s On Writing. With my first book, I tried to get 1,000 words a day. With my second, I aimed for 2,000 (and often only got to around 1,700).
I work way better in the morning, so it’s often an 8:30 am – 3 pm workday, give or take an hour (and sometimes I’m needed on Dad duty for my 1-year-old son, so that timing’s always subject to change).
I usually listen to music while I write, and the headphones going in is my indicator to myself: “Okay, stop dicking around on the internet. Time to work.”
TBD: I noticed your book has been translated into several languages. It was really fun for me when I saw my book in Russian and its different covers. What was it like seeing the book you wrote in a language you can’t read?
LR: That’s absolutely been one of the most surreal parts of the experience. Each cover has had its own wonderfully distinct take on the story, which has been so cool, but it’s the different-language part that is truly hard to wrap my head around. I heard an audiobook sample of the German edition last week, and I think my brain exploded. This story I plunked out on my laptop in random coffee shops has ended up in a recording booth in Germany, being read aloud by some talented German actor. That’s nuts.
TBD: We admire the fact that you publicly admit to loving the New York Knicks. How are you holding up during this very difficult time?
LR: Oh man, it’s been so rough. I mean, maybe there’s some historical joy in knowing I just lived through the Worst Knicks Season of All Time. No, there really isn’t. What a joke of a season. I miss Jeremy Lin.
TBD: I hate to ask you this, but what advice do you have for writers?
LR: Ha, I love the disclaimer at the beginning of that question. Here’s my two cents: whether you’re published or not, you need to start operating as if you’re a published writer. Make writing a part of your daily routine, as if it’s your job. Don’t wait for inspiration to strike; just sit down and do the work every day. If you don’t take yourself seriously in this way, then the universe won’t be able to, either.
Lance Rubin is a New Jersey native who has worked as an actor and written sketch comedy, including successful runs of The Lance and Ray Show at the Upright Citizens Brigade Theatre. He’s also co-writing a new musical called Annie Golden: Bounty Hunter, Yo! and loves Pixar, the Knicks, and Back to the Future. Lance lives in Brooklyn with his wife and son. His debut novel, Denton Little’s Deathdate, is out now from Knopf Books for Young Readers, to be followed by a second Denton book in 2016. Learn more at lancerubin.com and follow him on Twitter @lancerubinparty.
How to Find an Agent: A Baker’s Dozen from a Professional Agent Hunter
This article originally appeared in our monthly newsletter. You can view the full newsletter here. Join our newsletter to receive more FREE information on how to get your book successfully published.
David has now been a writer for 15 years. Before that, he was a professional actor for 15 years. In that time, he located, lured and landed over 50 agents. In fact, he got so good at it that he eventually got an agent to marry him and be the mother of his child. Sadly, on their wedding day, she fired him as a client. For those of you who don’t know, that agent is Arielle.
We’ve seen lots of agents try to tell writers how to find an agent. The sad truth is agents have no idea how to find an agent. All they have to do is look in the mirror, and there is an agent staring back at them. They look around the office; they’re surrounded by agents. Agents can tell you what things not to do and what things annoy them. But they also often give bad advice because, quite frankly, they don’t want the competition.
We see lots of agents tell writers not to do multiple submissions. But, in fact, it can take an agent nine months to get to your manuscript. That’s how long it took Arielle to read David’s manuscript after he submitted it to her. And we went on to get married! Imagine if it took nine months for every agent to get back to you, it would take you seven years to query 10 agents. Of course, agents don’t want you to do multiple submissions. They want you all to themselves.
David also heard an agent say a writer should never submit a book that’s already been self-published. She said it in such a dismissive and entitled way. You find this a lot with agents; they tend to develop a dismissive, entitled, bitter, jaded, snarky outer shell. You can’t blame them because they are constantly inundated, and everyone wants the agent to make their dreams come true. In fact, a great agent can make your dreams come true. David is living proof of that. However, he also did exactly what the dismissive, entitled agent said couldn’t be done. One of his books went out-of-print, and people kept asking where they could buy it. So, as an experiment, he decided to self-publish the book. It was a great experience, and he learned an amazing amount from doing it. It cost him nothing because the book had already been published; and he bartered with people to make him a new cover, a new layout for the printed version and an e-book. He immediately started making money on the book. At the same time, he went out to a number of agents and editors, and lo and behold, got a book contract. When that happened, he immediately took the book down from where it was available, and no one was the wiser. Mind you, he didn’t tell the people he was submitting a book that had already been self-published. But if they had asked, he certainly would not have lied. They didn’t ask. He didn’t tell.
So how do you find an agent?
1. Research
There is a fine line between research and stalking. The Book Doctors firmly believe it’s important to stay on the research side of that line. The first thing David does is make a list of 10 to 15 books that are similar, in the biggest broadest sense of that word, to his book. Let us emphasize in no uncertain terms that we mean big broad strokes. And please, for goodness sake, don’t say that your book is like no book ever written. Because that book will never be published. Lots of our clients have no idea what books are similar to their books. That’s a problem.
One of the most important things you can do as a writer is to read, and you have to become an expert in the section of the bookstore where your book is going to live. Recently, someone pitched us a piece of noir. We asked him if it was more like Raymond Chandler, Dennis Lehane, or James Elroy. He looked at us like a confused puppy and said, “Who are they?” They’re only three of the most successful and brilliant noir writers in history. If you are lucky enough to get an agent or editor interested, and they ask you if your book is similar to another book on the shelf, you have to be able to say, “Oh yes, I love that book, and readers of that book will love my book, but it’s different in these ways …”
2. Find Books Similar to Yours
Take a field trip to your local independent bookstore. When the phones aren’t ringing off the hook and the cash registers aren’t going crazy, find a person who is the expert, or as close to an expert there is, in the kind of book you’re writing. Then ask them what books they have that are similar to your book. Start making a list of books that are similar to yours, again in the broadest, largest sense. List books that looked interesting to you, that looked like they were done by people you’d like to do business with. In the acknowledgments section of those books, look for the agent and/or editor.
3. Make a List and Create an Environment of Competition for Your Book
Your agent list should be a little bit like a high school senior putting together their college list. You should have some well-known agents at the top of your list, some agents you admire but aren’t bigwigs yet, and some agents that have just started out or whose lists are small.
As soon as anyone expresses interest, you immediately email everyone else on your list. There’s nothing that’s going to get you a response faster than having someone else interested. That’s human nature. It’s like the sorta cute kid in high school who shows up with a beautiful cheerleader on his arm. Immediately, he becomes much more attractive. He’s exactly the same guy he was yesterday; only now someone else wants him. You see, every agent who’s been in the business for any length of time has a recurring nightmare in which they’re walking down the street, people are pointing at them, laughing and giggling, whispering to each other, “There goes the agent who passed on Harry Potter!” That’s because every agent has passed on a book that has become wildly successful.
4. Know Thy Agent-to-Be
Make a file on each of the agents. Where are they from? Where did they go to college? What are their hobbies? Where have they been interviewed? What books have they agented? Are they a dog person? You’re going to use all this information when you write your query letter.
One of the biggest mistakes that most amateur writers make is that they just send anonymous letters without doing any research. In lots and lots of places, it says that Arielle does not like fantasy and science fiction; and yet every week she gets another email from a writer that says, “Dear Agent, I know you’re going to love my book; it’s the first in a 37 book series. It’s called the Unicorns of Narnia.” Arielle used to actually answer those emails. She doesn’t answer them anymore. They go directly into the trash.
5. Make it Easy for an Agent to Say Yes
Agents are trained to say no. They’re just looking for a reason to reject you. It sounds cold and cruel from a writer’s perspective; but having lived with an agent for so long now, David totally understands it. They are inundated and overwhelmed, mostly overworked and underpaid. They’ve got 50 submissions that arrived in their inbox today, they had 50 yesterday, and will have 50 tomorrow. It’s relentless. That’s why they’re looking for a reason to say no. These reasons include:
- Spelling or punctuation mistakes—we can’t tell you how many people have spelled Arielle’s name wrong
- Over-promising and under-delivering
- Too much horn-tooting and butt-kissing
- Using obvious and overblown comp titles (i.e. Harry Potter, Eat Pray Love, Hunger Games)
- Not following agent submission guidelines—you can’t believe the percentage of submissions that do one or more of the above.
That’s why if you just do the basics, it already ups your odds by loads.
6. Don’t Submit Your Book Until It’s Fully Polished
Writers are under the mistaken impression that an agent will help them fix their books. The agent is almost certainly not going to help you fix your book. If your book is not ready, the agent will reject you and your book. Almost certainly, that bridge will be burned.
7. Develop a Coping Mechanism for Rejection
JK Rowling was rejected 25 times. What makes you think you’re any better than JK Rowling? Thicken your skin. Everyone has her own method of doing this. David subscribes to the Godfather model: It’s never personal; it’s always business. He also enjoys accumulating lists of people who’ve rejected him; so that when he finally gets a deal he’s been looking for, he can send them all a very sweet email, and rub their noses right in it. But again, everyone has to come up with their own personal method.
8. Keep Up-to-Date
Sign up for Publishers Marketplace and Shelf Awareness. Keep abreast of who is selling books and making deals. Know what agents have awesome blogs. Speaking of which, here’s a shout out to Jennifer Laughran, who has an absolutely awesome blogfor those of you writing children’s books.
9. Go to Writers Conferences, Seminars and Workshops
There are very few places a writer can actually get face time with an agent. Conferences, seminars or workshops are one of them. You can listen to agents make presentations, and sometimes you can even have one-on-one sessions with them.
10. Join a Writers Group
When David lived in San Francisco, he found an amazing writing group. One of the writers was a very handsome, very charming, ridiculously talented writer. Plus he was a doctor. You wanted to hate him, but he was just too nice to hate. You knew if he caught a break, he was going to be huge. Well, he did catch a break. He wrote a little book called The Kite Runner and became an international sensation. His name is Khaled Husseini. Now David is connected with his agent by one degree of separation.
11. Attend Readings at Bookstores and Libraries
Any time an author whose work is similar to yours in any way, shape, or form comes to town to do a reading, GO! Buy a book. Be the last person in line at the signing. If someone comes behind you, get behind him/her. This is important because when you get up to the front of the line to have the author sign the book, it’s very rude to have a conversation if there’s someone waiting behind you. If you’re the last one, then there’s no pressure to move along. Sometimes the writer will want to talk to you; sometimes the writer will not want to talk to you. Pay very close attention to body language. Ask the writers if they’re happy with their agent. If they say yes, this gives you the opening to contact the agent and say, “I was talking to your client yesterday, and she said how much she enjoyed having you as her agent.”
12. Write a Killer Query
Three paragraphs. The first is always customized. Why should this agent be your agent? The second paragraph is your pitch. The third paragraph is a short bio. The whole query should reflect the voice of your book whether that be funny, authoritative, lyrical or whatever. This is your audition to show what a fabulous writer you are.
13. Persevere and Follow Up
Don’t ever assume if you don’t hear back from an agent that they are rejecting you. Assume they haven’t even looked at your query or manuscript. David’s maxim is: keep submitting until they say yes or the agent tells you to go to hell. He tries to have the Zen attitude that it doesn’t matter whether they say yesor no. Because when someone says no, it’s like you bought another lottery ticket. You have increased your chances of winning.
However, there are two kinds of perseverance: smart perseverance and stupid perseverance. The Book Doctors highly advocate smart perseverance. Always try to make your query/proposal/manuscript a little better. Polish, buff, shine until is evolves into the best versions of itself.
Whenever you are rejected, ask if there’s anything you can do to make your work better. Time and again, David has seen people be very generous with their advice. When David first approached Arielle, he didn’t know her. In fact, David didn’t know anyone in the publishing business. After making initial contact, he sent her his manuscript. A week later he followed up, just to make sure she received the manuscript. It turned out she had already lost it. He sent another. A month later, when he hadn’t heard anything, he called her on the phone. Generally speaking, agents don’t want you to call them on the phone. But this is David’s strength. We had a very nice conversation; he never even mentioned his manuscript. He found out afterwards that because he’d been so nice, Arielle felt very guilty. One month later, he did the same thing. This went on, as he mentioned earlier, for nine months. One human gestation period. Finally, he told her he was coming to New York for Christmas. He lived in Venice Beach at the time, and in fact he wasn’t going to New York at all; but he had a feeling that if he said that, she would read his manuscript. He was right. As soon as they hung up, he went and booked a ticket to New York. Six months later, after she had helped him craft his proposal, she sold it for six figures in less than two hours. Ten years after that, they had the most amazing daughter ever.
This article originally appeared in our monthly newsletter. You can view the full newsletter here. Join our newsletter to receive more FREE information on how to get your book successfully published.
THE BOOK DOCTORS BRING PITCHAPALOOZA BACK TO MONTCLAIR PUBLIC LIBRARY OCT 25 2pm
Montclair’s own Ylonda Caviness won our last NJ Pitchpalooza for her book “Child Please!” Now she’s not only a published author with Penguin, but the TV rights were just bought by Fox Searchlight and the pilot is already being written. She’s just the latest Book Doctors Pitchapalooza success story!
WHAT: Pitchapalooza is American Idol for books (only kinder & gentler). Twenty writers will be selected at random to pitch their book. Each writer gets one minute—and only one minute! Dozens of writers have gone from talented amateurs to professionally published authors as a result of participating in Pitchapalooza, including Genn Albin, our KC winner who got a 3-book mid-six figure deal with Farrar Straus & Giroux.
WHO: Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company dedicated to helping authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010). Arielle Eckstut has been a literary agent for over 20 years at The Levine Greenberg Literary Agency. She is also the author of nine books and the co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 16 books, on a wide variety of subject including memoir, sports, YA fiction and reference. His first book has been translated into 10 languages and optioned by HBO, his latest book was featured on the cover of the Sunday New York Times Book Review. They’ve taught their workshop on how to get published everywhere from Stanford University to Smith College. They have appeared everywhere from The New York Times to NPR’s Morning Edition to USA Today. .
HOW: At Pitchapalooza, judges will help you improve your pitch, not tell you how bad it is. Judges critique everything from idea to style to potential in the marketplace and much, much more. Authors come away with concrete advice as well as a greater understanding of the ins and outs of the publishing industry. Whether potential authors pitch themselves, or simply listen to trained professionals critique each presentation, Pitchapalooza is educational and entertaining for one and all. From Miami to Portland, from LA to NYC, and many stops along the way, Pitchapaloozas have consistently drawn standing-room-only crowds, press and blog coverage, and the kind of bookstore buzz reserved for celebrity authors.
PRIZE: At the end of Pitchapalooza, the judges will pick a winner. The winner receives an introduction to an agent or publisher appropriate for his/her book.
PRICE OF ADMISSION: To sign up to pitch, you must purchase a copy of The Essential Guide To Getting Your Book Published. Anyone who buys a copy of receives a FREE 20 minute consultation, a $100 value. If you don’t want to pitch, the event is FREE.
WHEN: Oct 25, 2pm
WHERE: Montclair Public Library http://www.montclairlibrary.org/
50 South Fullerton AvenueMontclair, NJ 07042 973-744-0500
Washington Post: http://thebookdoctors.com/the-book-doctors-pitchapalooza-in-washington-post
New York Times article: http://tinyurl.com/3tkp4gl.
Pitchapalooza mini movie: http://bit.ly/vm9YSu
Pitchapalooza on NBC: http://thebookdoctors.com/the-book-doctors-pitchapalooza-on-nbc-television
Here’s what people are saying about Pitchapalooza:
“We came to Pitchapalooza with an idea and six months later we got a book deal with a prominent publisher. We simply couldn’t have done this without this opportunity and without David and Arielle. We had been working on this project for several years, on our own, and struggling without any guidance. We were really discouraged by the entire process. Winning Pitchapalooza, and working with these two, really helped us focus and renew our enthusiasm in the project. And now we’re going to be published authors!”—Nura Maznavi and Ayesha Mattu, Pitchapalooza winners Litquke, San Francisco, Oct. 2010
Here’s what people are saying about The Essential Guide To Getting Your Book Published:
“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This little tome is the quiet secret of rockstar authors.”—New York Times best-selling author Timothy Ferris, The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich,
The Book Doctors Bring Pitchapalooza Back to Brooklyn Book Festival
PITCHAPALOOZA RETURNS TO BROOKLYN
YO BROOKLYN COME FIND AN AGENT!
BROOKLYN BOOK FESTIVAL
BROOKLYN PUBLIC LIBRARY SEPT 16th 7pm
WHAT: Pitchapalooza is American Idol for books (only kinder & gentler). Twenty writers will be selected at random to pitch their book. Each writer gets one minute—and only one minute! Dozens of writers have gone from talented amateurs to professionally published authors as a result of participating in Pitchapalooza, including Genn Albin, our KC winner who got a 3-book mid-six figure deal with Farrar Straus & Giroux.
WHO: Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company dedicated to helping authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010). Arielle Eckstut has been a literary agent for over 20 years at The Levine Greenberg Literary Agency. She is also the author of nine books and the co-founder of the iconic brand, LittleMissMatched. David Henry Sterry is the best-selling author of 16 books, on a wide variety of subject including memoir, sports, YA fiction and reference. His first book has been translated into 10 languages and optioned by HBO, his latest book was featured on the cover of the Sunday New York Times Book Review. They’ve taught their workshop on how to get published everywhere from Stanford University to Smith College. They have appeared everywhere from The New York Times to NPR’s Morning Edition to USA Today. .
HOW: At Pitchapalooza, judges will help you improve your pitch, not tell you how bad it is. Judges critique everything from idea to style to potential in the marketplace and much, much more. Authors come away with concrete advice as well as a greater understanding of the ins and outs of the publishing industry. Whether potential authors pitch themselves, or simply listen to trained professionals critique each presentation, Pitchapalooza is educational and entertaining for one and all. From Miami to Portland, from LA to NYC, and many stops along the way, Pitchapaloozas have consistently drawn standing-room-only crowds, press and blog coverage, and the kind of bookstore buzz reserved for celebrity authors.
PRIZE: At the end of Pitchapalooza, the judges will pick a winner. The winner receives an introduction to an agent or publisher appropriate for his/her book.
PRICE OF ADMISSION: To sign up to pitch, you must purchase a copy of The Essential Guide To Getting Your Book Published. Anyone who buys a copy of receives a FREE 20 minute consultation, a $100 value. If you don’t want to pitch, the event is FREE.
WHEN: September 16, 7pm
WHERE: Brooklyn Public Library 10 Grand Army Plaza http://www.bklynlibrary.org/locations/central
Brooklyn Book Festival http://www.brooklynbookfestival.org/BBF/Home
Washington Post: http://thebookdoctors.com/the-book-doctors-pitchapalooza-in-washington-post
New York Times article: http://tinyurl.com/3tkp4gl.
Pitchapalooza mini movie: http://bit.ly/vm9YSu
Pitchapalooza on NBC: http://thebookdoctors.com/the-book-doctors-pitchapalooza-on-nbc-television
Here’s what people are saying about Pitchapalooza:
“We came to Pitchapalooza with an idea and six months later we got a book deal with a prominent publisher. We simply couldn’t have done this without this opportunity and without David and Arielle. We had been working on this project for several years, on our own, and struggling without any guidance. We were really discouraged by the entire process. Winning Pitchapalooza, and working with these two, really helped us focus and renew our enthusiasm in the project. And now we’re going to be published authors!”—Nura Maznavi and Ayesha Mattu, Pitchapalooza winners Litquke, San Francisco, Oct. 2010
Here’s what people are saying about The Essential Guide To Getting Your Book Published:
“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near six-figure advance, and multiple TV deals in the works. Buy it and memorize it. This little tome is the quiet secret of rockstar authors.”—New York Times best-selling author Timothy Ferris, The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich,
Stephen Mooser on Kids, Books, Writing, and Society of Children’s Book Writers and Illustrators
The Book Doctors were lucky enough to get to keynote the New England chapter of the Society of Children’s Book Writers and Illustrators. If you are in any way, shape, or form interested in writing a book for kids, you’re crazy not to hook up with this organization. There’s so many smart, encouraging, inspiring, learned people both teaching workshops and attending them. This year we were fortunate enough to meet one of the founders of SCBWI, Stephen Mooser, himself the author of over 60 books. So we thought we’d pick his brain about the intersection of books, kids and writing. To read on the Huffington Post click here.
The Book Doctors: How did you get started as a writer?
Stephen Mooser: I have a degree in film from UCLA and another from UCLA in Journalism so though I was not a very good filmmaker, I discovered that what I really liked was stories, and had always been writing stories as I grew up. After a three year stint in various jobs, including two of those years looking for treasures in Utah and Panama, also unsuccessfully, I got a job writing a reading program for a major publisher. Over five years I wrote almost 250 books for a program that, after a run in schools, became the basis for Learning Company’s Reader Rabbit — also at that job I met a fellow writer, Lin Oliver, and together we started the SCBWI in 1971.
TBD: What were your favorite books growing up, and why?
SM: I loved adventure — so Treasure Island may have been my all time favorite book, but I also read lots of science fiction, 2 newspapers every day, and lots of nonfiction, especially true stories of weird and strange events and people. Many of these interests eventually found their way into my books for children.
TBD: How did you get started in the book business?
SM: Writing the Reading Program and starting the SCBWI opened the door to publishing for children. Even from the organization’s early days I met generous and talented authors and agents who mentored me. Sid Fleischman became a mentor and lifelong friend and helped me with what became my first published book, 101 Black Cats, for Scholastic with illustrations by Quentin Blake.
TBD: How did you go about starting the Society of Children’s Book Writers and Illustrators?
SM: As I mentioned above I met Lin Oliver while we were writers on the Reading Program. We looked around for an organization to join and when we discovered there was nothing out there, we took out an ad in Writers Digest and a week later had our first 5 members. What we had not realized was what a wonderful community we had tapped into. The SCBWI, save for a small paid staff, is entirely made up of volunteers who run our 100 plus chapters around the world because they care about literacy and creating great books for children — without them we never would have grown to more than 22,000 members today.
TBD: Tell me about Class Clown Academy, it’s such a fun book!
SM: I have published more than 60 books for children, picture books, nonfiction, middle grade series and some novels, but when I began writing Class Clown Academya few years ago I found myself truly enjoying myself. Perhaps it was because I’d been a class clown myself, but primarily because I thought the short chapters that make up the book were really funny–my agent had described the manuscript as Wayside School meets Animal House–which I think is an apt description. I was disappointed then that my traditional publishers were not interested in the subject–because, as one said, teachers don’t like class clowns, and teachers buy books. Despite my protests that my Class Clowns just keep school on a light note and are not the disruptive troublemakers some confuse with a funny student. In any event I decided I wanted the book to find an audience and so put together a team of editors and designers, and an artist, and brought it onto the market.
TBD: What made you decide to develop an App for this book?
SM: Once I had the book I knew I needed to build a virtual school and so put together a team of animators and programmers and built and you can find the App in the Apple Store. The school has a very funny film in the CCA Theater called “Farts and You,” has a wacky science lab, a music room where you can play, and record, a concert on whoopee cushions and a student store where you can buy Class Clown Products — and, outside the Principal’s Office in the Diploma Mill you can print your own degree bestowing on you advanced class clown privileges. Over time I hope to organize an association of former class clowns and hold a convention. That should be quite an event, unruly, unpredictable and uproarious.
TBD: What do you think about the way the publishing business has changed since you first got into it?
SM: In some ways the changes have been profound–the consolidation of publishing houses into 4 or 5 giant corporations, and their desire to find and publish a blockbuster franchise such as Harry Potter and Hunger Games has been the most visible–but underneath it all the publishing houses are still populated by smart, dedicated editors who look for and publish wonderful books by some incredibly talented writers and artists. Writers and artists who in the past would have turned up their noses at the thought of writing a “kiddy book” have now discovered what a unique art form in particular a picture book can be. And the result is that we are in a Golden Age of children’s books.
TBD: What things do you see successful authors doing? Conversely, what are some of the mistakes you see writers make?
SM: To be a successful author today you have to also be an active advocate for your book. Publishers don’t have the staff or funds to properly promote any but the biggest books. Of course, you have to start by writing a good story.
I suppose one mistake writers make is writing for the current trend–if you even see there is a trend you are already too late. Write what makes you enjoy the process then, whether that sells or not, you have (1) had a good time and (2) learned a few things along the way that can only make you better at your craft.
TBD: What do you think is the value of a writer joining SCBWI?
SM: First, joining shows you are committed to better yourself as a professional, and you will immediately have access to scores of publications on every subject from lists of publishers and agents, to marketing tips, to ideas on craft and options regarding independent publishing. And of equal importance, you will find yourself part of a worldwide community of supportive writers and artists who can connect with in person at our many events or online.
TBD: We hate to ask you this, but what advice do you have writers?
SM: My advice is for the new writer just entering the field. The competition is stiff–publishers get tens of thousands of manuscripts every year so you have to give them something that they have never seen before. I go to the movies once a week and I enjoy many of them, but most of them are just a variation on a theme–but every once in a while I see something that knocks me out–Star Wars, Pulp Fiction, Moonrise Kingdom were for me those films. If you come up with something fresh, whether a story idea or a character or an art style, you will sell that book even if you don’t have a track record or an agent. So, think hard, study hard and work hard and you will succeed–I promise you–in my forty plus years of children’s books I’ve seen that hundreds of times.
Stephen Mooser is the author of more than 60 books for children from picture book titles such as The Ghost with the Halloween Hiccups, to nonfiction, Lights! Camera! Scream!, series and chapter books, The All-Star Meatballs, The Treasure Hounds,The Creepy Creature Club, Goofball Malone, and novels such as The Hitchhiking Vampire and It’s A Weird, Weird School. His most recent title is Class Clown Academy which accompanies his interactive online virtual school. A former filmmaker and treasure hunter, many of his adventures have found their way into his books. Among his awards is The Christopher Medal for The New York Kids Book and a 2010 Eric Carle Honor Award as a Mentor. He is co-founder, with Lin Oliver, of the Society of Children’s Book Writers and Illustrators, and currently serves as the organization’s President.
The Book Doctor Client Leslie Sorrell Wins Texas Writers League Memoir Contest
Our absolutely fabulous client Leslie Sorrell, whose amazing memoir just won the Texas Writers League Memoir Contest. Can an absolutely fabulous book deal be far behind?
Bruce Holsinger on How to Write Historical Fiction, Plagues, Witches, Wars & Guns
The Book Doctors met Bruce Holsinger at the Tucson Book Festival (by the way, if you read or write, do yourself a favor and put the Tucson Book Fest on your Bucket List) and when he told us about his book, The Invention of Fire, we just had to pick his brain about fiction, non-fiction, teaching fiction, plagues, witches, wars and guns. To read on Huffington Post click here.
The Book Doctors: How did you start becoming a fiction writer?
Bruce Holsinger: Aside from various unfortunate childhood experiments, I never wrote much fiction until I was in my late twenties, teaching at the University of Colorado in Boulder. My wife was living in Wisconsin for a while, and I decided I wanted to spend part of that year writing a thriller. Unlike my two published novels, it ended up in the drawer, and with good reason (one of my favorite sentences from that manuscript: “The mashed potatoes were as fluffy as white clouds.”).
TBD: You write novels and nonfiction. Do you approach them any differently?
BH: Absolutely, and they must come from different quadrants of my brain. My academic writing is slow and deliberate, painful at times, with lots of fact-checking between one sentence and the next. With fiction I can find a flow and write very quickly, and even though I’m a heavy reviser I find the experience of fiction writing vastly more pleasurable. This isn’t to say that I don’t take joy in my nonfiction/academic books–but the joy comes with the finished product more often than with the process of writing the prose.
TBD: What are some of the pitfalls and joys of writing historical fiction?
BH: Pitfalls: lots of fans and readers who know the period as well as or even better than I do–and they’ll let you know it! I love hearing from readers with suggestions, corrections, and so on, though it can be quite intimidating to present a fictional version of a past that some might take as truth. In writing historical fiction you’re always treading that line between plausibility and invention, and that line can often be quite fuzzy.
Joys: rediscovering a moment in history that I thought I already knew. As I said in my historical note in A Burnable Book, though I’ve been teaching the literature and culture of medieval England for nearly twenty years, I was continually surprised and delighted to learn new things about that world and its everyday life. The Middle Ages have always fascinated me, never more so than now, when I’m getting to contribute to a wider public understanding of that era and its many resonances with our own.
TBD: What drew you to this time and this place: 1386 London?
BH: This is the era of Geoffrey Chaucer, the medieval poet at the center of my academic discipline. Chaucer figures importantly in both of my novels, and this particular moment in the history of London was a fascinating one. In the fall of 1386 a massive French navy was assembled just across the channel in Sluys, prepared to invade England. Though the invasion never occurred, the city and the realm were deeply paranoid about the possibility, and there were suspected French spies lurking under every bush. The Invention of Fire is in part about the traffic in weapons across the channel–particularly hand-held gunpowder weapons that were just coming into their own. The English word handguns (in its Middle English form handgonnes) first appears in a document from this decade, and there were many political crises in these years that provide a rich background for the kind of story I wanted to tell.
TBD: What have you learned about writing by teaching literature?
BH: Quite a lot–more than I could have imagined when I started writing fiction. The Middle Ages gave us so many kinds of stories: adventure, romance, saints’ lives, epics, as well as a considerable body of bawdy and quite obscene tales that writers like Chaucer knew and appropriated in their own work. One of the things I value about studying and teaching medieval literature is what it tells us about the power of story. This was an era in which people really know how to sit and listen to a good story for hours at a time. We hear a lot these days about our fragmented attention spans, and one of the lessons I try to teach my students about the Middle Ages is the quality of attention that must have been required to listen to and absorb a work like Beowulf in its original form.
TBD: How does someone get a Guggenheim? Who did you pay to get yours?
BH: I wish it were that easy! The Guggenheim Foundation has always been generous to scholars and writers, and I feel deeply fortunate to have been honored with one of their fellowships, which allowed me a year free of teaching a number of years ago to work on one of my academic projects.
TBD: Did learning a musical instrument, and learning how to be a musician, help you as a writer?
BH: Absolutely. I spent a big chunk of high school and all of college (in the School of Music at the University of Michigan) preparing for a career as a classical clarinetist–and this required many hours a day of disciplined, regimented practice. I’m not nearly as regimented in my writing routine, but I think music did teach me how to squeeze the best results out of a relatively short span of time.
TBD: Why are you interested in plagues, witches and wars?
BH: I try to stay away from them as much as possible, except in the classroom. Last year I taught a massive open online course (or MOOC) called “Plagues, Witches, and War: The Worlds of Historical Fiction.” The course enrolled 20,000 students from around the world, and we spent eight weeks reading historical novels from the eighteenth century to the present. I had several wonderful guest writers of historical fiction visit the class, both in person and virtually, including Katherine Howe, Mary Beth Keane, Yangsze Choo, Jane Alison, and Geraldine Brooks. Their novels imagine plagues, witches, and various wars, among other things–so it was a catchy title that helped frame the selection of works on the syllabus.
TBD: What have you learned about the gun industry and culture by studying the history of guns? What do you think is to be done about gun violence in America?
BH: On one level, the modern gun industry bears no resemblance to the nascent gun culture of the medieval world, which was just starting to experiment with smaller, more efficient gunpowder weapons. There was no real mass production of guns until much later in English history, and in the period I’m writing about, the longbow remained a much more lethal and reliable weapon than the handgonne. At the same time, I think the sort of do-it-yourself gunsmithing we’re starting to see with things like 3D printers and mail-order kits represents a return of sorts to the local, private manufacture of guns that characterized the earliest medieval experiments–and that’s quite a frightening thing. I’m a strong believer in much, much stricter gun laws, at the national and local levels. We lose over 30,000 people to guns every year in this country, and our gun culture is just out of control. Though The Invention of Fire isn’t what I’d call a political novel–it doesn’t take a position on contemporary gun violence or legislation–it does try to understand the allure and seduction of guns in their earliest form. It’s a novel about the beginnings of gun violence, and it would be silly to pretend that it doesn’t have contemporary relevance.
TBD: I hate to ask you this, but what advice do you have for writers?
BH: Keep writing, keep writing, keep writing, and don’t spend time fretting about a publishing industry that doesn’t recognize your genius. It took me fifteen years and two manuscripts in the drawer to get a novel picked up. All the clichés about persistence are true!
Bruce Holsinger is an award-winning fiction writer, critic, and literary scholar who teaches at the University of Virginia. His debut historical novel, A Burnable Book, won the John Hurt Fisher Prize and was shortlisted for the American Library Association’s Best Crime Novel of 2014, while his scholarly work has been recognized with a Guggenheim Fellowship and other major awards. He has written for The Washington Post, Slate, The Nation, and other publications, and appears regularly on National Public Radio. His new novel, The Invention of Fire (HarperCollins/William Morrow), imagines the beginnings of gun violence in the western world.
Arielle Eckstut and David Henry Sterry are co-founders of The Book Doctors, a company that has helped countless authors get their books published. They are also co-authors of The Essential Guide to Getting Your Book Published: How To Write It, Sell It, and Market It… Successfully (Workman, 2010). They are also book editors, and between them they have authored 25 books, and appeared on National Public Radio, the London Times, and the front cover of the Sunday New York Times Book Review.
Pitchapalooza Winner Ann Ralph #2 on Library Journal’s Best Sellers List
Congratulations to Ann Ralph for her book, Grow a Little Fruit Tree: Pruning Techniques for Small-Space, Easy-Harvest Fruit Trees (Storey Publishing, 2014), appearing on Library Journal’s list of gardening best sellers! We met Ann at a Bay Area Pitchapalooza a couple years ago and helped hook her up with a book deal. She had one of the best pitches we’ve ever heard, and she’s written a wonderful book. It’s a real treasure.
Pitchapalooza
Pitchapalooza is the American Idol for books (only without Simon) and it works like this: Anyone with an idea for a book has the chance to pitch it to a panel of judges. But they get only one minute. The Book Doctors team up with guest industry insiders to form the judging panel. The Judges critique everything from idea to style to potential in the marketplace and much, much more. Whether potential authors pitch themselves, or simply listen to trained professionals critique each presentation, all Pitchapalooza attendees come away with concrete advice on how to improve their pitch as well as a greater understanding of the ins and outs of the publishing industry. At the end of each Pitchapalooza, the judges come together to pick a winner. The winner receives an introduction to an agent or publisher appropriate for their work. Join us for an upcoming Pitchapalooza.
We’re pleased to bring Pitchapalooza to the New England SCBWI Conference on April 24, 2015. The Society of Children’s Book Writers and Illustrators is the international professional organization for writers and illustrators of children’s literature.
Ann Ralph
Ann is a fruit tree specialist with twenty years of nursery experience. She teaches pruning classes in the San Francisco Bay Area and lives in the Sierra foothills near Jackson, California.
Grow a Little Fruit Tree
Grow your own apples, plums, cherries, and peaches in even the smallest backyard! Expert pruner Ann Ralph reveals a simple yet revolutionary secret that keeps an ordinary fruit tree much smaller than normal. These great little trees take up less space, require less care, offer easy harvest, and make a fruitful addition to any home landscape. Think Elements of Style for fruit trees.
“…a thrilling read for the backyard farmer…”
— Publisher’s Weekly
“Beautiful and essential. Ann Ralph is your good-natured guide to the sometimes intimidating task of planting bare root fruit trees, thinning fruit, and that nail-biter of them all: pruning.”
— Novella Carpenter, author of Farm City: The Education of an Urban Farmer
“Ann Ralph argues her case for pruning with such deep knowledge, and wit, and obvious affection for fruit trees, that you cannot help but be converted. A delightful and useful book!”
— Mike Madison, author of Blithe Tomato
“This backyard fruit tree owner’s manual should come with every fruit tree, or, better yet, get it while you are still deciding what trees to plant.”
— Pam Pierce, author of Golden Gate Gardening
Learn more about Grow a Little Fruit Tree and buy a copy here.