About Cheryl

Cheryl Zach has published over 50 books, mostly for young adult and middle grade, some for adult readers as Nicole Byrd. Her YA titles include the Southern Angel series: Hearts Divides ( which won the Virginia Romance Writers Holt Medallion), Winds of Change, A Dream of Freedom, and Last Rebellion. Her YA Runaway won the RWA Rita award, and she is a member of RWA's Hall of Fame. A military brat, she changed schools 10 times in 12 years, won a National Merit Scholarship, holds a B.A. and M.A. in English and taught school before stopping to write full time. Born in TN, she has lived in TN, TX, GA, on the MS Gulf Coast, in southern CA, in Britain and Germany and has visited most of the other states and several other countries. She has spoken at schools and workshops around the country.

The Stages of a Writer’s Life or How Not to Retire from Writing

I wanted to be a writer from the time I began to read, and I don’t even remember when that time was–before I started school, I know. I wrote during all of my years in the classroom, wrote for high school and college newspapers and annuals, the college literary magazine, took what writing classes were available. Then I married too young, had babies–distracting creatures, babies–and got sidetracked a bit but never stopped writing. In my twenties I got serious about wanting to sell and wrote my first novel.
I knew that writing was a joy, a labor, sometimes an exquisite pain, but it took me a good while to realize that publishing was a business, and one I knew nothing about. So I wandered in the wilderness for what seemed an eternity, sending out manuscripts and getting back form rejections until I discovered writing conferences. Classes and contacts, information!
Fairly soon I had an agent and then two book sales, and I was off. It wasn’t always smooth sailing by any means, but I’m very stubborn–I persevered during downs as well as ups, kept writing and selling . . . 50 something books later. . .and then a family health crisis took precedence over everything else.
I’d managed to stay afloat through many changes in the publishing world. I’d passed up the safer choice of going back to teaching after my husband died too young. I’d worked day and night, literally, to write and hold a position with a national/international nonprofit writers’ group, I’d traveled to research and speak and promote my books. It was exhausting, but I enjoyed it all. But this time everything had to come to a halt, and everything did.
My daughter had three back surgeries back to back, no pun intended, and was ordered to complete bed rest between the second and third. However, she also had a toddler whom we affectionately called the Energizer Bunny and a husband who obviously had to keep his own job, for health insurance as well as to pay their mounting medical bills. So I had to be at their house 12 hours a day. You can imagine trying to write while jumping up every ten minutes to rescue a gleefully manic tot from his rush into doom… After that there were more family health issues, and then, later, I developed some health concerns of my own. And somewhere in there we had the Great Recession and book sales went down across the boards, which didn’t help my career.
So a few years back I decided that perhaps it was time to slow down. That being free of tight deadlines would be a good thing, that it was okay not to feel the need to write six and a half days a week. That not having to get on yet another air plane and fly across country might be a relief–travel is not as much fun as it once was. And I could go to town halls, march in protests, write letters, try to save the country, the planet. Have a life.
And do fun things too. Spend more time with my grandchildren. Have more lunches with friends.. Go to movies, symphony events, plays, special museum exhibits.
Have a life.
But one unexpected thing. After the first few weeks, the ideas came back. The characters slipped into my head, hung off my ears and kicked my cheeks. “Look at me,” they’d say. “I have a story to tell.”
You can’t stop the stories.
The fact is, I am a writer to the bone. It’s not a job, not a profession, even, it’s who I am and who I will always be. So I continue to write. I haven’t submitted any of the short books or novellas–it’s a pleasure to write to my own whim–even though writers do like to be read. I could self publish but I’m not sure I want to go that road–you still have to to PR if you want to attract readers and I’m really awful at self promotion.
But I know as long as my fingers work, I’ll be writing.

Ideas All Around

How do you find ideas for books? Many of my young adult or middle grade plots came out of newspaper stories. (Runaway, Shadow Self) Some came from incidents suggested from my days as a classroom teacher or from incidents that happened to my own children. I also found ideas from my own life. (The biggest pitfall here is that you have to remember to update a lot of the superficial stuff unless you mean to make the story a period piece. Clothing, music, amusement, electronic devices, social mores, so much will have changed.)
I’ve recently been working on a book about a teen in a military family, a background I know well. I grew up as an army brat, relocating and changing schools often. I moved eighteen times before I left home for college. Mostly it was to other military communities, but I also know what it’s like to end up in a small rural school where everyone else has known each other forever and you’re the lone new person, as happens to my main character. I made his case worse–always up the ante!-by depriving him of his dad, who died a hero, giving him a lot to live up to. The story also deals with how he is targeted by a school bully and wonders if he’s a coward, unworthy of his father. A lot of the story I could draw, bits and pieces, from my own experiences.
Happily, I didn’t lose my own father in that manner, but I was separated from him by calls of duty for long periods, thirteen months at one point, and it was very hard. I cry when I see on television children surprised by returning military parents. (I also think it’s rather unfair to film these kids!) So I know a good deal about the emotions my main character is going through, and authentic emotion is always a key to a good story.
You may not have been a military brat, but I’ll bet you have stories from your own life that could be taken and altered slightly, adapted to make a good starting place for a plot. Pull out your memory book and take a look!

Mining the Nuggets

If you’ve read my posts before, you know I’m a big advocate of writers’ conferences as good places to acquire information, about writing and illustrating skills, about up to date market information, and much else useful to a professional. You can also network, see old friends and make new ones. And they’re fun!

This past weekend I attended the Society of Children’s Book Writers and Illustrators MidSouth Writers’ Conference, held outside of Nashville, Tennessee. I’ll share a few nuggets of interest with you.

The opening keynote was given by Laurent Linn, an author/illustrator and art director and general Nice Guy. He started his career working in Jim Henson’s Muppet Workshop and later won an Emmy as Creative Director of the Sesame Street Muppets, went on to work as AD at publishing houses, illustrate and write–his newest work is an illustrated YA novel, Draw the Line. Laurent shared some nuggets of wisdom, including the thought that you should start your book with a promise of what’s to come, but laid on with a feather, not a hammer. . . He noted that we are story tellers, and story tellers must share their stories.

And haven’t we all moaned about work and family obligations that keep us from our creative pursuits–the novel not finished, the portfolio that’s too thin? Time passes relentlessly. Laurent cited a quote from Walt Disney: “The way to get started is to stop talking and start doing.” I loved it–have to tell myself that more often.

He also noted in passing that we all feel like frauds, at times, and that’s not a feeling that goes away. Not something that every writer or artist will admit, but certainly comforting. Bravo, Laurent.

P.S. I didn’t have the chance to learn a lot on marketing, but did hear that the YA market is a ‘bit saturated,” no surprise there as I knew that demand had cooled, but sales are still possible. And there are no current trends in young adult novels. More editors were looking for middle grade than YA, also no surprise, as MG usually remains steady.

What Can Be Done to Help Midlist Authors?

I have a question for you.

I’ve heard from some more recently published writers that they feel (perhaps) increased pressure and less support from publishers than once existed. They feel that if their sales numbers don’t increase quickly –and we all know that nowadays authors and illustrators are expected to do a lot of PR on their own, maintain online presence, etc.–that they will be dropped in favor of another new author’s first book. This is good for some eager new author, but he or she will face the same predicament very soon, so in the long run, it’s not so good. And the new writer who shoots to the top of the best seller list with a first book is very rare, though publishers, and certainly writers, too, always hope for such a lightning strike.

In the not so distant past it was expected that midlist authors would grow a career more slowly and steadily, with a reasonable amount of publishing house support. (Midlist means just what it sounds like–anyone not a total beginner but not at the very top of the profession, either.) Most writers and artists spend their careers in midlist, and often earn honors and a well respected name in the process, even if not necessarily known worldwide.

If this attitude of publishers has changed, and if pressure is more intense now, I’m wondering what can be done to help authors. And I’d like to hear from you, and what you’ve heard from your friends or garnered from your own experiences.

Theme Vs. Plot

The theme is the thing.
Not that plot is not important–without plot, your novel is a jellyfish, no bones, no skeleton, no internal structure to give it shape and structure and hold it erect. Character-driven novels can be wonderful, but those totally devoid of plot are very difficult to pull off. At the risk of sounding contradictory, I think well developed characters are likely the most important element in a good novel–but that’s another blog.
Plot is what happens in a novel, and it’s much to do with the novel’s conflict, how the main character and others go about struggling with and resolving the conflict/problem: coming to a –we hope–victorious, or at least, bitter-sweet conclusion. (I hold with the late, great Madeleine L’Engle who said, if I may paraphrase, that a writer should always leave at least a glimmer of hope at the end of a YA novel. Adult readers can deal with a totally tragic ending, younger readers don’t have the experience as yet to cope–they need some optimism in a book’s conclusion to carry into their own life challenges.)
I’m sure you know the basics of plot and conflict: the main character must resolve the problem him or herself instead of an adult or an act of blind fate coming in at the last moment to make all things right, and so forth.
But that’s still not theme. Theme is the basic and overall idea that hangs behind the whole novel, that guides the momentum behind the character’s growth and change, his/her struggle with conflict, reaction to the setting, reaction to other characters, and more. Other writers have commented that theme comes from the characters’ issues–or perhaps, I might add, their issues develop partly from the theme.–and the theme grows from the writer’s heart. It’s possible you might write using a theme you don’t believe in, but I don’t really see how.

In the YA manuscript I’m working on now, working title: An Ounce of Courage, the protagonist has been relocated, after the death of his military father and much against his will, into a small isolated village from a much more cosmopolitan setting. His immediate conflict is being beset by the local high school bully. His bigger conflict is that he’s afraid he’ll never live up to his hero dad.

(My dad always said,’ Stick up for the little guy.’

My dad wasn’t on the bus.)

The theme, though, has to do with the nature of courage and the process of becoming a man, a journey every male teen has to make.  You might wonder why a woman is writing this book? The short answer, the story wouldn’t leave me alone until I started to write it.  Longer one: My writing has never been restricted to characters of one gender. : ) I do have a younger brother and a son, and now three grandsons, two growing old enough to begin this process. And perhaps sometimes a little distance is a good thing. . . And I am an army brat, so the backdrop of the story is one I’m very familiar with. There is a girl in the book, too, who is an important character, and she also has challenges to face and decisions to make. Courage is not just a question for boys–or men.

I feel every word and every page of this manuscript deeply, whatever the gender of the protagonist, because the theme matters. . . now my job as a writer is to make sure the reader does, too.

images-4Cheryl Zach is the author of Hearts Divided, Book 1 of the 4 book Civil War YA series, Southern Angels, and many other YA and MG novels.

The Ups and Downs of the Current Children’s Book Market

I’ve just returned from the Millennium Biltmore Hotel in downtown Los Angeles, where the annual summer conference of the Society of Children’s Book Writers and Illustrators had to be relocated after our ‘old’ and usual hotel site in Century City broke its contract with the group. The Biltmore is an old and elegant building and the staff was friendly and helpful. However, it’s not really big enough for the conference turnout. Around 250 would-be attendees had to be turned away, so the search for a new site will likely continue.
As usual, the state of the industry was discussed with interest, first by Justin Chandra, VP and Publisher of 4 children’s imprints at Simon and Schuster, and later at the Market Report given by Deborah Halverson, author and former editor, and creator of advice site: DearEditor.com.
News is mixed. Children’s book sales are up by only 2%. Sales of teen books are falling, and there is a sharp decline in ebook sales. Chandra said the YA market has been saturated. He says right now fantasy and action/adventure are selling, but since by the time you write and sell a book and get it to market, no one knows what will be hot, he advises you to forget about trends and write what is closest to your heart.
He said that last year there were more sales of fewer titles, big sales of movie tie ins, and it is hard to get attention to midlist. (My note, when was it not?)
The good news, we’re seeing the return of independent children’s book stores, new stores opening, where children books can be hand sold by dedicated staff.
Middle grade sales are pretty solid, and picture book sales are picking up again. Diversity is not a trend, simply real life.
Halverson also talked about the drop in sales, hardcover fiction and YA. Nonfiction sales numbers rose sharply, but that was partly because adult coloring books were counted among juvenile nonfiction. She noted that paperbacks were up, picture books doing well, and ebooks flat for the third year in a row. Someone’s survey noted that 49% of consumers bought both print and ebook formats. She also noted new children’s bookstores opening, and also school book clubs bouncing back.  Middle Grade is a good place to be, open to literary and genres, buying contemporary and historical fiction but with a contemporary voice. Nonfiction is wanted, but with a fresh approach.

Some new imprints: Quinera, (not sure of the spelling–we did not get a handout), wants contemporary and historical, American history and social justice themes; Peeko, picture books for the very young; Her Universal Press, sci-fi and fantasy with strong female roles by female writers, and a few more. SCBWI members can find these in “The Book”‘ on the SCBWI website.

So, you can still sell, but not easily. But authors have heard this for years, right? So don’t give up, keep writing, learning and revising, keep on keeping on! And good luck to everyone.

Cheryl Zach

Tea at the Biltmore

Tea at the Biltmore

D.I.Y.–With Help!

For the last several years, I’ve been saying/thinking that I wanted to reissue some OP (out of print) Young Adult books, to make them available to readers once again. Finally, after finishing a new YA ms, I decided that it was time to make good on the promise to myself. Years ago I published what was to be a 4 book Civil War YA series called Southern Angels, about four Southern girls who live through, and make a difference, during the Civil War.

I put three years of my life into researching and writing these books (they were to be accurate enough historically to be useful in schools)  and then they were, I felt, badly mishandled by their big NY publisher. I lost my editor (she was hired by another publishing house) and all support before the books were all out, and the 4th book wasn’t even printed, tho I had written it and it had been advertised. I heard a lot of complaints at the time, and still occasionally, from people who couldn’t find the final book. So I’ve always wanted to see these books back in print. (I’m doing this more for personal satisfaction than in the expectation of making tons of $, BTW.) The books received good reviews and I found them in public and school libraries, and they should likely have been published in hardcover, not mass market, where they made it to few store shelves, as marketing picked up the indifference of the editorial staff. I was crushed.

I am a total newbie to indie publishing. I will soon finish, I hope, the process for getting out ebooks and paperbacks, and boy, have I learned a lot.

First, the cover. It took me three tries to get a cover designer. Another writer gave me a name of a good cover person, which I checked out online–her website had some great looking covers, and she agreed to do the four covers at a reasonable price. She gave herself deadlines, but missed them all. Finally told me, after being out of touch for several weeks, that she had health issues and couldn’t, after all, do the work. I wished her well and was sorry to lose her. Later, I realized that I had undoubtably increased her stress by asking for almost impossible demands as I did not understand the process–more on that in a sec. The second website I admired, the cover d. said she couldn’t take any new clients, she had enough repeat customers to keep her busy. Aiiig. The third person said on her website she would only take a few new clients, but fortunately did decide to take the job, after showing me some stock cover shots to make sure I would be happy with the costumes she could find, as, she said, right now Regency and Victorian are the most popular historical eras and therefore the easiest to find costumes for, Civil War not so much. I was ok with what she found, and we agreed to go ahead as I liked her work a lot.

So, first lesson. I knew from prior experience that large publishers hire models, dress them in appropriate costumes (for romance, anyhow, or YA, and other genres, too) and make sure they resemble the characters in the book–or, that’s the theory. A pro photographer does a photo shoot, then either the photo itself (in middle grade or sometimes YA) is used, or an artist is hired to make a painting, often acrylic, and the cover comes from that. This process costs thousands of $.

Obviously, an indie publisher/author can’t afford this kind of money. So, a cover designer working with indie’s uses stock model shots from companies who handle just that–photos of models and objects already taken. Legit designers buy these shots, as close as possible to what you want, use computer programs to change hair and dress color and perhaps manipulate shots somewhat–I’m not an IT person so can’t tell you how much can be done. They also put in a landscape or suitable background, they choose fonts and sizes of letters for titles, etc. and put it all together in well balanced and artistically pleasing arrangement for a good cover. Some covers don’t have people in them, of course, sometimes a clever idea is used, instead. You can look up examples of all of this in websites on line.

Some writers who publish ebooks do the covers themselves. I was quite sure I didn’t have that much artistic sense, and the one thing that often gives away a self-pubbed book is an amateurish looking cover. Sadly, people DO judge books by their covers. So I knew that I wanted someone good to do my covers, even tho it would cost money. (Prices vary hugely.) Many designers do predesigned covers which are cheaper and will work for some books: romance, mystery, women’s fiction, etc. I have 4 books in a series, so I had special requirements, and that wouldn’t work for me. I’m pleased with the progress of the first cover, think it’s going to look really good, and when it’s done will try to put it up here.  (PS I tried several times to put up the cover, but the file is too big, so sorry.  I will try to put it on my website, but not sure if I will have the same problem, will try to get around it somehow, even if I have to make a copy of a copy…  And I assume Amazon will have it in a short time.) I actually think it’s better than the original Big Company cover.)

Next, I’ll go to the company I choose and get the book put together, I’m doing both an ebook and a paperback of each book in the series.  These books were PAL books to start with, so they will remain so, if you’re familiar with SCBWI classifications. (BTW, I thought I would have to retype all 4 books, but a reader who emailed me–yes, looking for book 4– told me I could buy an external computer drive to hook up to my current laptop that would take the hard disks that I had had the book ms backed up on when the original computer, several computers back, on which I wrote these books, died suddenly. I was able to find three of the four disks, so only had to retype one, whew. I am revising the ms slightly as I go, can’t help myself! I do hope to have all four books: Hearts Divided, Winds of Change, A Dream of Freedom, and Last Rebellion, out by March, the first, Hearts Divided, in Feb.  (You can also scan hard copy into a file, if you have the right technology, or pay someone else to do it.)

The cover is likely the most expensive part of the process, tho you may also want to buy an ISBN, unless you get that from your distribution service, and that can be done. The friends I spoke to recommended d2d, (Draft2Digital) over Smashwords for ebooks, and CreateSpace, which is Amazon, for paperbacks, although Ingram also has a paperback program. I will let you know what I think when I get that far.

Onward into the future!

What’s New in the Publishing World?

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I attended the 2015 Summer Conference of the Society of Children’s Book Writers and Illustrators in Los Angeles, as usual, with no particular expectations except that it has always been a positive experience.  This year it seemed particularly filled with exuberant energy. (Having the delightful Mem Fox give the first keynote may have set the mood.)  I won’t try to give you an overview of the entire conference–there were official bloggers who can be found on the SCBWI.org website, as well as–for members–the annual Market Report.

In general, however, it was reported that children/YA book sales were up 21% in 2014, and up though somewhat less the first part of this year. (Last year’s sales were increased by movie tie in’s.)  Several new children’s imprints have been formed, including Epic Press, Flat Iron Books, and Imprint, the last from MacMillan.  We did not get a printout of the report this time, and most attendees I talked to are hoping they go back to that next time.

Publishers are again more open to short picture books, (short as in 500 words or less) character or narrative driven, and nonfiction is also of interest, especially on nature or the physical world, and they prefer that nonfiction also read like a story.

We were told that anything goes in middle grade: quirky action, classic MG, mystery, adventure, fantasy, nonfiction. Apparently 60% of kids read both digital and print.

YA is still the industry hot spot, but there is a lot of competition. Editors are very selective, and they receive many submissions. Contemporary realism dominates among published books, but editors are open to other genres, including S-F and horror. Pubs are keen to find new ways to reach readers, trying e-book subscription services, among other things. And of course, editors are always looking for good writers and illustrators, the ones who go just a little bit further.

I know I came home ready to write. : )  Hope you are, too!

Cheryl

P.S.  I would have made the photo smaller if I could have figured out how, and that is if it comes through at all. I’ve already wiped out the whole darn blog entry once, aggggg.

 

 

What’s New in the Publishing World?

tnI attended the Summer 2015 Society of Children’s Book Writers and Illustrator’s Conference In Los Angeles without any set expectations except that it’s always a worthwhile experience and found it infused with an upbeat attitude this time around. I won’t try to give you any comprehensive report–there were official bloggers who reported on the conference, which members can find on the SCBWI.org website, along with the latest Market Report and other members’ comments.

Basically, however, the market report said that sales of children/YA books were up 21% for 2014, also up so far this year but not as much; apparently media tie in’s drove some of the sales last year. The demand for picture books is picking up,  publishers open to short, character-driven or narrative-driven fiction, and also non-fiction especially about nature and the physical world.  They also want non-fiction picture books, bios and others, that read like a story.

Middle grade: anything goes, the presenter said:  quirky action, classic MG, adventure, mystery, elements of fantasy . Apparently 60% of kids read both digital and print.  And YA is still the industry hot spot, although editors are very selective, and there is a lot of competition. Editors receive many submissions, and contemporary realism dominates published books. They are open to other genres, too, especially S-F and horror. But editors and agents are looking for good writers and illustrators.

I came home ready to write. : )  Hope you are, too.

To Outline or Not to Outline, That is the Question. . .

With due apologies to Will….
Some writers call it jumping into the mist–that is, you have the idea and you just leap into the writing, with no outline to guide you. Other writers pale in horror at the prospect of starting a book with no concept of where they or their characters are going. When I took a decade off from writing for teens and children to create historical romantic adventure for grownups, the first few books (penned as Nicole Byrd) were written with my daughter, Michelle Nicole. (Later she felt overwhelmed by life and small babies–hers–and I went on as Nicole Byrd by myself, with good wishes all around.) We had similar writing habits–except for plotting.
I have the kind of brain that jumps from point c to point g, then maybe back to f and on to p. That used to drive Michelle bananas; she wanted to go from c to d to e to f, much more logical, I admit. But my brain wouldn’t work that way, probably why I’m not a plotter, but a pantser–another nickname for ‘flying by the seat of your pants.’
I do know where my characters are at the start and where I expect them to end up (once even that changed, and I had to call my editor and explain meekly that–honest to goodness–my main characters wouldn’t do what I wanted them to, and the book was going to end differently than I had expected.  However, that book, RUNAWAY, became an award-winning YA novel.) I know the conflict that faces each character, I know their backgrounds and motivations. From there, it’s a matter of following my characters and seeing where they lead me.
Right now, I’m working on a YA novel, and the middle is frustrating me because I’m a little unsure of where it’s going. That’s the problem when you don’t outline–but as I said, it’s not really a choice. Some writers profit by having a chapter by chapter outline, and they relish its security and guidance. Some writing books will tell you a plot outline is totally necessary. But some authors just don’t work their best from an outline, if they can make one at all. (Yes, from long practice I can fake a synopsis for my editor when I need to. But trusted editors understand me well enough to know the story will take its own direction.)
For me, the most important thing is knowing my characters inside and out, knowing where they’re coming from and what conflict/problem they are facing. Then I just watch to see what action they will take to overcome the obstacles, and how they will grow in the process.
In this book I knew my main character had to end up in Egypt but wasn’t totally sure why. She has a big problem–her mother has been abducted, and now her whole family is in danger. (Always ramp up the conflict, heighten the peril as the story progresses.) How is my MC going to rescue her mother and defeat the Baddies? I’m not yet sure, but I can’t wait to find out–it’s sure to be exciting!
Stay tuned, and good luck with your own plotting, whether you outline or not. : )