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Many publishers

A sixth grade class from Rochester, NY  writes: “We have been read­ing a lot of your books. Why do you have so many dif­fer­ent pub­lish­ers?”  It is true that my books have had many pub­lish­ers. There are a num­ber of rea­sons for that.  Some­times a par­tic­u­lar book changes pub­lish­ers. Pop­py was first pub­lished by Orchard Books. The paperback

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What comes next

If a book you have writ­ten is accept­ed by an edi­tor, more often than not you will get what is known in the trade as an “Edi­to­r­i­al let­ter.” I doubt very much if any­one has for­mu­lat­ed how these let­ters should be com­posed, but over the years, con­sid­er­ing the many such let­ters I have received, they

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Support, sustenance, and growth

What a writer needs more than any­thing is feed­back. If you con­sid­er the word ”feed­back” in a dic­tio­nary, you learn that it is a very old Eng­lish word with many nuanced mean­ings, most of which have to do with food. In the con­text of writ­ing, the term that has most mean­ing is that feed­back can

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Share Your Childhood Favorite

A good friend of mine—a high­ly edu­cat­ed man in his seventies—was talk­ing about e‑books. “I use them for only one pur­pose,” he said. “I have loaded my read­er with the books I read when I was a boy—The Count of Monte Cristo, The Three Mus­ke­teers, The Deer­slay­er, and the like. The children’s books of my

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Tips ‘n’ tricks

Going repeat­ed­ly over a man­u­script is not just hard; it can be tricky, tedious, and unpro­duc­tive. The famil­iar words, blocked out in famil­iar ways, pass before your eyes so that you see less and less. You are read­ing from mem­o­ry, not with a fresh mind. Here, my com­put­er (and beyond) comes to my res­cue. Here are

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Working hand in hand

In response to my arti­cle last Tues­day, Hertha asks, “How do you find a good edi­tor or know your edi­tor is doing a good job?” It is not easy. In the world of pub­lish­ing, edi­tors more often than not go through a process of appren­tice­ship, work­ing their way up from cler­i­cal posi­tions until they become edi­tors. It

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Then everything changes

I have worked on a book for a year. I feel good about it. It seems set. Coher­ent. I send it to my edi­tor. If I am lucky, my edi­tor can make one comment—not nec­es­sar­i­ly a criticism—as much as an obser­va­tion, a ques­tion. When I begin to work with that one point, every­thing changes. The

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Footnotes

Years ago, I spent a teenage sum­mer as an appren­tice in a rur­al sum­mer stock the­atre, the the­atre being a con­vert­ed old barn. My job was to line up the var­i­ous props for the par­tic­u­lar play in pro­duc­tion. Dur­ing per­for­mances, I was sta­tioned under the wood­en audi­to­ri­um floor. From that loca­tion, I could hear the actors’

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Inspiration at its best

Cole, from Lau­rel, MS asks: “What inspired you to be a writer?” When I was a boy, there were books in the house, and I saw my par­ents read. My moth­er read to my twin sis­ter, my broth­er, and me every night. Each Fri­day she took us to the local pub­lic library. In those days

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Historical accuracy

Ever since Sir Wal­ter Scott invent­ed his­tor­i­cal fic­tion with his nov­el Waver­ly (1814), there have been many kinds and def­i­n­i­tions of the form. One of the ques­tions that comes up repeat­ed­ly is his­tor­i­cal accu­ra­cy. It is a com­plex ques­tion and usu­al­ly has an equal­ly com­plex answer. One can try to be accu­rate, but it is almost impossible

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