Agenting Tips of the Month - October 2015

Get ready Inkpot readers, this week we're treated to a fantastic true-life agenting adventure.  MFAC alum and agent extraordinaire Jodell Sadler* has once again offered to share some insight into her field. This time she wanted to talk about a recent book deal she has with new author-illustrator Phil Gosier. Read on to find out why his inquiry was her fastest response to date.

I wanted to share with my Hamline family, a recent two-book deal for Phil Gosier’s debut author-illustrator picture books: Snow Beast Comes to Play and an untitled to Emily Feinberg, Macmillan. But the story goes deeper than that. Phil’s work, when submitted, was actually picked up for a MG illustration project, The Friday Barnes series, with Connie Hsu, Macmillan/Roaring Brook, and his picture books were forwarded to Emily. Both are going strong and he has more books in the works. I know his submission to me was my quickest response to date and I’d like to share why.

JO: Here’s my story of just that kind of journey.

Late last week, the PW featured Sadler Children’s Literary’s double-book deal for Phil Gosier, debut author-illustrator, who earned his illustrator wings at DC Comics:

I feel really honored to represent Phil’s talent. His submission marked my fasted pull from my submission bin ever. We’ve seen tough challenges, but today, I really must say, I feel his feet are firmly planted in a wonderful journey as an author-illustrator. It took time, a mutual respect for the mission, and honoring the goals he saw for his end product, but it was worth every moment.  

In my last post, I mentioned how I pulled Phil’s letter and emailed him right away. I still wonder how I held back from calling, but it makes me smile when I think about that moment —my I’m-so-lucky moment. I often talk about the one line in his cover letter, which he placed under an “A bit more about me” header. It read, “I tend to cry at most Tom Hanks movies.” And BOOM. That made me feel he was genuine and real and relatable right away. 

I’ve often called his email the “unreliable narrator” approach to submissions because, if I recall, he wrote something about it needing to be in better shape and still needing work and not willing to send it back out until he fleshed it out even more. All things I respect a great deal. And what I’ve seen is that this is rather true about how he works and this has helped him find success this past year.

I read his letter and opened his attached PDF file. And WOW! Snow Beast as a concept hooked me, and then I saw his HELLO! art, and his wonderful street scape with Snow Beast playing peek-a-boo behind buildings, I knew his talent would shine and this book would sell. 

While I know Phil mentioned in his letter that he happened upon my website and thought “why not?" there’s not a day I don’t wonder how he got there. Still, I do thank my lucky stars.  So, I asked: Phil, What lead you to me?

PHIL: There’s a quote that I attribute to Scott McCloud, but it’s probably not his originally... “The only people who succeed in cartooning are the ones who are too stupid to know it’s impossible.” When you have two young kids that doesn’t seem as pessimistic as it may sound... it seems like good, practical advice on how to conduct your career. Well, as you know I have a college friend who had succeeded wildly in kid’s literature. I remember the exact moment when I decided to give this industry a try. I was down seeing the national Christmas tree with my family...maybe 6 years ago. We had stopped into union station to grab dinner before heading over to the tree and we stopped into a Barnes and Noble. I was rounding the bend into the kids section and I saw a stack of bright red books on the floor, right at the end-cap. I recognized the drawing on the cover immediately...it was unmistakably Jeff's work. He and I were cartoonists together at the UMCP student newspaper, the Diamondback, and I know his stuff on sight. I knew right then that Jeff had not only managed to get published, but also that he was a success. In this small bookstore the staff will stack top sellers at the end-caps because they move off the shelves so quickly. I know this because I used to work at this very same bookstore back in college. Anyhow, when you come to know that something is possible...well, it becomes difficult to keep from thinking about it. So, I was off and running...

I had been working on Snow Beast for years, just chipping away at it. Initially the story was about two kids who go looking for an abominable snowman and are surprised to actually find one. I drew on it in off hours for a long time. The story evolved to the more heartfelt version we now know. Once that happened the drawings seemed to make much more sense and I seemed to like everything better. Maybe it was that boost in confidence, maybe it was because I had been working on it for years, and maybe I was just looking for something to do on my lunch hour.

I found you through a Google search and I remember the language on your site being very approachable and friendly so I decided to see how someone actually in the industry would look on what had essentially been my hobby. Also, most other representatives looked as though they were trying to hold the submissions community at arms length...like they didn’t want to be bothered. Also, Also, I had previously sent illustration samples over to Shannon Associates (illustrator reps) and they didn't pick me up. I sent them a bunch of disney-esque illustration work...some Tony the Tiger samples, stuff like that. Looking back on that experience, they seemed to like me, but I didn't have all that much to show so things didn't move forward. That’s sort of how I thought our interaction would go. "Yeah, sure, it’s charming...but I need to see more." Whatever the case, I didn't really expect to hear back from you.

JO: Like editors, agents look for that next great author or author-illustrator. They are looking for the whole package, that great story and great person to work with. Phil represents both those things. He’s all about getting the work done, staying on deadline, and keeping humor in our conversations.

It took us a while to find a perfect home for his work, and it was riddled with a few rejections (as we expect), but it also came with some awesome, awesome moments worth celebrating along the way.

Our first rejection was after editorial circles at a great house. It was an editor I had long admired by her books and client list. I wanted to work with her and knew Phil was of her caliber. But, ultimately, after a round a few editorial meetings, the project was turned down because it was too similar to a book they already championed (that also went on to win accolades).

Spin forward a few months… After sending it out again, I learned this editor shifted to a new house. And I wondered: Could it be that what might not be right for one house, might be just right for another? So, I followed my gut (something I encourage writers to do) and reached out again.

Her response came with an email and a phone call meeting, followed by the news that they would like to consider Phil for a middle grade project and move his picture books forward with another editor. Yes, a two-editor split. It was a moment—an amazing moment—and I thank my lucky stars. 

Phil went on to illustrate The Friday Barnes Series at Macmillan with Connie Hsu while working on Snow Beast with Emily Feinberg.  Two great titles filled with these characters will be released soon, and news of more in this series is in the works:

For me, this was a rare moment.  Looking back, do you remember that initial rejection from a different house and the few rejections that followed? How did you feel and what did you think when I told you I was going to follow up with the same editor now that she had shifted houses? And, of course, I asked Phil about this experience:  How did it feel that day I called you to tell you that Connie wanted you for a middle grade art project and was also sending your picture books to another editor? 

PHIL:   Fast forward a bunch of months. I remember our phone conversations where you were pitching the Beast. It seemed like there was a lot of negative response except for one editor, who really liked it. I remember you saying, “I think she GETS it.” There’s probably a lesson in there somewhere...not every house is going to be predisposed towards something you feel has merit. That doesn’t mean it doesn’t have merit...just that it may not fit the house or the editor whose looking at it.

Also, let’s face it...Writers, illustrators and editors are all in the same boat. We’re all trying to tell stories to kids. We have the burden of trying to get noticed and they have the burden of trying to bring a vision into its proper form. We spend late nights banging our heads against the creative while juggling our uncertainty. They spend late nights banging their heads against the same creative, while juggling the money and their own uncertainty. Anyway, we're all in this together.

This publisher’s initial interest sent me over the moon. I was disappointed when they didn't pick it up, but it was immensely satisfying that there was interest from such a big and reputable house. Interlude: I read the Artists Market books with regularity. Most entries from publishers read something like “We're approached with 2000 submissions a year and we publish 4." So, having that interest, for me, was like summiting Everest.

JO: What is great is that during all of this, Phil worked above and beyond, maintained steadfast faith, and kept coming up with interesting stories and ways to make his mark in the industry.

And while, I’d love to ask him: How do you feel about this year and what you’ve been able to accomplish? Do you feel optimistic about your future in the industry?

I know the answer is mutual. We are looking forward to a recent submission moving forward and another offer moving into contract. It’s a great day when you know that there’s room for your books on a shelf at a house (and editors) of your dreams. Knowing you can make this happen with a lot of hard work, a little determination, and the belief that together you can make things happen. This, for me, defines the ideal, author-agent relationship.

Phil continues to make me laugh, produces the highest quality material, and there’s not a day that goes by that I do not thank my lucky stars. It’s been a rewarding partnership that makes me completely thrilled to be an agent for KidLit.

Thanks Jodell for all the great advice! 

We're trying to make this a regular monthly post, so if you have a question we can ask just write a comment below and we'll get it answered next time.

*Jodell Sadler is the founding agent and owner of KidLit College. She also teaches and presents on "pacing a story strong" nationwide.

Sit in the Discomfort

This week alum Donna Koppelman talks to us about this frightfully fun time of the year as we inch ever closer towards Halloween.  Read on if you dare to embrace your own darkest fears (insert melodramatic evil laugh).

The scary season is upon us. Not presidential debates. Haunted houses. Fright nights. Scary movie marathons. Ghost walks. Imagineers at theme parks brainstorm new and powerful ways to scare people.

Adults are inclined to squelch this emotion in modern culture, but artists must embrace the intensity and power of fear. People who write for children cannot lose touch with this emotion. Fear plays a critical role in the lives of young people.

When children are very young, good parents and teachers honor their fear. It’s real and valid, and keeps them safe. As children grow more adventurous, fear protects them. Still, small children don’t like fear. The avoidance of fear may drive many aspects of a child’s life.

For teen-agers, it all changes. Fear becomes delicious, scintillating, exciting. Young people seek the heart-pounding, skin-crawling rush of emotion. It tests their mettle, their courage, and their confidence. Adolescents embrace scary situations as long as they happen in a controlled environment. In other words, adolescents often play at being scared because they thrive on the intensity.

Adulthood brings with it routine and responsibility and other logistics that allow people to avoid fear as much as possible. Young couples look for a home in a safe neighborhood. Parents seek out nurturing, safe schools and work environments. Adults instinctively consider ways to protect themselves from horrible tragedies reported in the news. They think their way through fear, explain it away and rationalize it. In this manner, sensible adults isolate themselves from the primal fears of childhood.

Writer friends, we can’t be sensible adults AND effectively write for children!

We must connect with the raw, basic emotions of childhood. The children need us to remember, understand and support them in their fears. We must write characters who experience real, knee-knocking fear and then find their way to courage and strength. In this way, our readers will feel less alone in their fears, our work will ring true, and our characters can offer help and hope.

Young readers try on different identities, environments and experiences by immersing themselves in books. We must provide honest, real writing for readers to connect. We cannot do it if we have grown detached from the intense emotions of childhood.

So do your research. Take a ghost walk. Visit a haunted house. Watch a horror movie. Walk around your house in the dark and listen to its sounds.

Scared yet?

Good.

Now, pay attention to your fear. Sit in the discomfort. What does it do to your senses? How does your body respond? What scares you now versus what scared you as a child? What would comfort you? What environment or encounter would push you past rational fear to true terror?

Take notes and put them in a folder marked fear. Add to it whenever you feel afraid or observe a frightened child.  Keep a list of things that frighten you and scary story ideas for the younger set.

Figure out how your own emotions and physical reactions can enrich a children’s story. Then, write one. Or ten.

And every October, get out there and be afraid.

For the children.

Alchemists, Teachers, and Ponies.

Welcome back to the Storyteller's Inkpot, today we have another great recollection from MFAC faculty member Ron Koertge*.  Read on to find out Ron's secret to writing YA novels.

Every now and then, I teach for a friend of mine at her Writing Pad. She has classes in everything - fiction, screen writing, web-stuff, etc.

This class was called Writing the YA. I had five students, most of whom had degrees in writing of some kind. Working in Hollywood (scripts, pitches, etc.) can be discouraging and these women wanted to try something else. Maybe just a YA; maybe that in addition to other kinds of work.

Teaching all of YA in three hours (tone, pace, dialogue, killer opening page, and more) was daunting, but everybody was curious and willing so we did pretty well.

They asked a lot of questions, but the one that kept coming up is this: “What’s the structure?”

Almost all of them knew the three-act template for some scripts. Five acts, sometimes, for plays. Most knew the Save the Cat book about screen writing with its many beats and plot points. I told them that Hilary Mantel (Wolf Hall) goes into a quiet room, puts two chairs facing each other, sits in one, imagines one of her characters in the other, and then she talks to him or her.

When they asked me what I do I said, “Different things, but mostly I write three pages a day that don’t bore me. If I can do that for a month, that’s 90 pages and the best part of a first draft.”

Them: “And that works?”

Me: “Sometimes.”

Them: “How do you know when you’re being boring?”

Me: “I nod off and drool on my computer.”

I know this sounds glib, but isn’t it just about that simple? Characters doing and saying things that make it impossible for readers to put the book down.

To come back to my five students for a moment: I don’t blame anyone for wanting an alchemist instead of a teacher. Hell - I still want a pony.

*Ron Koertge is a faculty member at Hamline's MFAC program.  He writes poetry for everyone, fiction for young adults, and most recently co-authored a young reader series (Backyard Witch) with Hamline alum Chris Heppermann. Book # 1 of that series -Backyard Witch: Sadie’s Story - is out now (read the publication interview). His latest work also includes The Ogre’s Wife, Coaltown Jesus, and the unforgettable Sex World - some of the fastest flash fiction in the world.

You can learn more about Ron's work by visiting his website or visit his faculty page to learn about him as a professor at Hamline University.

Macabre Writing Prompts From My Backyard

This week Ellen Kazimer, MFAC alum of 2014, shares a few creepy stories and free write exercises based on true events.  Read on, if you dare...


When the call came out for Halloween inspired postings, I didn’t wander past the woods behind my house to dig up a few writing prompts. This time of year, globe spiders spin webs across my windows, bats perform aerial acrobatics at dusk, and toads cover my front walk. 

Halloween decorating? I’ve got that covered. So for your writing amusement, I present three “true life” vignettes from my woods, each with two writing prompts. Hope they inspire your monster muse.

Vignette I 

There are ten unmarked graves behind my house and possibly more. A dismembered arm indicates there is still another body to be found. Three dead baby dolls and seven dead Barbie’s is a case for the Behavior Analysis Unit on Criminal Minds. I suspect that in yards across America, you will find a buried doll or two, but ten? What twisted mind would do that? (I tried reviving the dolls, but they were too far gone. Tiny insects had crawled into their heads through their hair follicles.) 

A. Write a picture book, middle grade, or young adult scary story where your protagonist either buries or unearths dolls in their backyard.  Would you choose gothic, noir, supernatural, or psychological? Picture book noir, anyone? 

B. The last Barbie I found had hair so full of leaves and mud, that her hair was stuck in place as if it were styled that way on purpose. Perhaps I had a woodland fairy instead of a zombie. Are the dolls changelings? Write a story using the buried dolls as fantasy elements. 


Vignette II 

Last winter, in the middle of a snowstorm, I spotted a piebald deer. I'd never seen one before, and we are replete with deer. A few days later, a neighbor found a tree stand in the woods and deer entrails strewn into the creek. (Deer hunting is illegal in our woods.) The kill was fresh. Turkey vultures had not found the entrails yet. That piebald deer never appeared again. Who killed and gutted the poor piebald deer and why? 

A. Write a story where your protagonist discovers the entrails using one of the three types of terror defined by Stephen King, the Gross Out, the Horror, or the Terror. 

B. Write a story where this unusual deer is a magical beast loose in the suburbs. Perhaps go back to the ancient legends of the mythical white stag. 


Vignette III

I have a trail camera takes six rapid photos when it detects motion. Most of the time it catches deer, foxes, squirrels, or me walking the dog. One night the camera went off, and there was nothing in the pictures except an “orb.” If you are a fan of shows like Ghost Hunters, then you know this could be a spirit orb. (Or it could be an insect or pollen, but let's stick with a spirit orb.) 

A: Write a story where a spirit orb or ghostly apparition haunts your protagonist by appearing their trail camera. 

B: Write a story where the orb is a “will ‘o the wisp” leading your protagonist to another world. Hope you found some spooky inspiration for your stories of mayhem, horror, and the supernatural. I’m off for a walk in the woods.


Thanks for answering the Halloween call, Ellen!  Hopefully these spooky true-life events will give you some great starting points for you own seasonal scares.


*Ellen Kazimer is a 2014 graduate of Hamline MFA in Writing for Children and Young Adults. When she’s not sweeping spider webs off her windows, she writes picture books, nonfiction, and middle grades novels. Her bio can be found on her website and blog where she shares “Odd Bits of Research that Washed Ashore.”  Learn more about her work on her author website or visit her blog.

Shudder Shriek Scream

October is the month of mischief, fun, and sometimes frights. MFAC faculty member Ron Koertge* kicks off the season with his own Halloween story.

As some of you know, I live in the Halloween House. One of the local sites for John Carpenter’s Halloween. The first one. The iconic one. Everybody’s favorite.

If you watch the first 12 minutes or so of the movie, there’s the house on Oxley Street and the avocado tree. The latter is bigger and the house is pretty much the same. Which is part of the appeal.

For sure now in October, but really off and on all year, we get visitors. Pilgrims is more like it, because they come from everywhere. All over the U.S., Mexico, Germany, Japan, Australia, China, Israel, and Norway.

Vagabonds. Supplicants. Votaries.

Mostly they just wander around, take pictures, use the plastic pumpkins my wife provides. They sit where Jamie Lee Curtis sat. They walk where she walked.

A few turn up in costumes, and Michael Myers - the madman with the knife - wins hands down. I don’t know how many times I’ve come home from the race track and there are two or three people in coveralls and masks holding a pumpkin hostage and waving a knife around.

When I get out of the car, the conversations go like this:

Fan: “Do you live here? Holy crap! What’s that like? Are you scared”

Me: “Nope. It’s a friendly house.”

Fan: So cool you let people use your pumpkins and stuff.”

Me: “Sure. Have a good time.”

Fan: What’d you do, like for a living?”

Me: “Well, I, uh, write poetry and - ”

Fan: “No, man. What do you do?”

Me: “Oh, okay. How about mortician.”

Fan: “No way!”

What seems remarkable to me is the good will these folks bring. They’re thrilled to be here. Grateful to be able to take pictures. Anxious to share minutiae. Ready? The original title was not Halloween but The Babysitter Murders,” Jamie Lee Curtis bought her own costume and spent under a hundred dollars, and in the credits Michael Myers is called “The Shape.”

We’ve lived here more than twenty-five years and never an ounce of trouble. Nobody steals a pumpkin, nobody sprays their names, every now and then someone leaves a Thank You note and a dollar or two.

Just the other day I was outside staring at the dying lawn when a guy pulled up with a woman who, from a distance, looked a little like Jamie Lee Curtis. “I swing by here on my honeymoon,” he confided. “This is my fifth trip.”

Thanks Ron for sharing the true-life tale of your Halloween House.  We're glad that it's got a happy ending.  So, readers, do any of you have a Halloween story to top Ron's?  If you do, share it in the comments below!

*Ron Koertge is a faculty member at Hamline's MFAC program.  He writes poetry for everyone, fiction for young adults, and most recently co-authored a young reader series (Backyard Witch) with Hamline alum Chris Heppermann. Book # 1 of that series -Backyard Witch: Sadie’s Story - is out now (read the publication interview). His latest work also includes The Ogre’s Wife, Coaltown Jesus, and the unforgettable Sex World - some of the fastest flash fiction in the world.

You can learn more about Ron's work by visiting his website or visit his faculty page to learn about him as a professor at Hamline University.

Getting the Right Blank Page

This week we have another fantastic post on "Getting Started."  Read on as Jackie Briggs Martin*, prolific picture book author and Hamline professor extraordinaire, gives you her advice on what to do once you're ready to start your next big project.

This month’s Inkpot topic is “getting started,” facing the blank page. I’m taking this to mean what you do when you have no unfinished writing projects to work on and not the blank page of the next chapter. I feel as if I should have a list—“10 keys to filling the blank page”—but I don’t. I never have. I just wander around at the beginning, kind of like exploring a new patch of prairie, see what’s there, what might grow, what might be beautiful. So I can’t share answers here, just a few thoughts.

A blank page begins with a notebook, at least for me—a new notebook. And the kind of notebook I have is very important. I can’t imagine writing a new story in just any notebook. I want a notebook with the right colored cover, with ¼” graph lines on ivory paper. I don’t know why this is important but it is. And so is the writing instrument. Rolling Ball V pens or pencils go directly to my brain. Pens from the gas station don’t work. My muse is particular.

So getting the right blank page is the first requirement. Then, even at the beginning, the page is not really blank. We all have some little story idea tapping us on the shoulder, maybe not formed, just an urge, but something we want to explore. Whether we keep an actual file of story ideas, or interesting articles or just let them simmer in that unconscious part of our brains until we have time and/or inclination to develop them, something is there. So when the page looks blank, maybe we should just write something, anything—as Phyllis Root says it’s all play. Just write what our brains tell us to write. Then write some more. Let a character stroll on to the page and off again. Be goofy. It’s all play. I heard Minnesota poet Michael Dennis Browne talk about beginnings once. And he said that beginnings are like auditions for ideas. And we should welcome all the ideas we have onto the stage. I find it useful to write all over the page, at all angles, against all those prescribed graph paper lines. It somehow gives me permission to be whimsical.

The next problem can be which one of those clamoring ideas gets picked. Sometimes it’s easy. One is just more compelling, more demanding. Sometimes it’s not. They all seem to speak at equal volume. What to do? Wait. One will emerge. Or just start. Just pick. We can always put it aside.

Once I have chosen the topic, or the topic has chosen me, I have to get into a new world, the world where that story could take place. And that is true whether it is fiction or non-fiction. I have to do research, find out where the grass grows, what the people in this world do for fun, what games they play, what their shoes look like, what they do when it rains. Sometimes this involves actual looking things up. Sometimes just brainstorming lists and charts, weather reports and relationships.  As I do this research, story ideas accrue on the page and it’s no longer blank in any way but a busy carpet that takes me into the story.

Thanks Jackie for a great take on starting our stories.  If you're looking for more tips, be sure to check out Claire Rudolf Murphy's post, Research – How to Start, When to Stop, What to Do With It, for more insight into starting work on your next project.

*Jacqueline Briggs Martin is the author of over a dozen picture books for children. She is best known for Snowflake Bentley, which received a Caldecott medal in 1999. The Chiru of High Tibet, published in 2010, was named to Smithsonian Magazine’s and Kirkus Review’s “Best Book of 2010” lists and selected for the 2011 list of “Outstanding Science Trade Books for Students K-12” by the National Science Teachers Association and the Children’s Book Council.  To learn more, visit her faculty profile at Hamline University or her author website.

Research – How to Start, When to Stop, What to Do With It

Today we have a special post from the amazing Claire Rudolf Murphy*, renowned author and MFAC professor at Hamline University.  Taking on the challenge of "getting started," Claire provides us with her top ten tips on doing research for your next book.

Hello, Readers. When Daniel Campbell, our new blog coordinator, suggested the theme of “getting started,” I decided to write about one of my passions – research. Every writer gets a gift  - something that comes naturally. Mine is research. 

Let’s pause for a moment. What is your natural gift? Dialog? Plot? Humor? 

Back to mine – research.  This love for uncovering new information started back when I was a history major in college. You may not like to do research. But for many of us it is much easier to learn new things than to put this knowledge into writing. According to plot guru Martha Alderson the order of difficulty in communication skills are: listening, speaking, researching, and finally writing, the most complex. I agree.

Research is not just for nonfiction writers. You do research every day in your personal life – what car to buy, where to move, how to meditate. And in your writing – fiction, nonfiction or for your critical essays. Fantasy writers might study up on Greek myths or astronomy. For realistic fiction, you may need to learn specific details about a type of dog, how to cut hair, what the character’s body feels like when running a 10 K race. Yes, in nonfiction the bar is higher. Everything you write needs to be true and verified. 

But for all of us, here are ten research tips for writers of all genres. Thanks to the wonderful Hamline writers, past and present, who have shared their process with me and contributed to my tips below.

1. Start with general learning and reading on the subject – online articles, books, articles, interviews, videos. Enjoy yourself.

2. Figure out a method for keeping track of your research notes - from old-fashioned notecards, to a notebook like a scientist in the field, or new computer programs like One Note, Scrivener, or Ever Note. Faculty writer Emily Jenkins uses Scrivener for novel writing, too, and many Hamline writers have followed suit. New grad Judi Marcin used Scrivener when working on her third semester critical project. Your method doesn’t
need to be fancy, it just needs to be one that you will actually use and suits your style.

3. Look for surprises in your research. When alum Judy Dodge Cummings researched the Revolutionary War for her book The American Revolution: Experience the Battle for Independence, she was “amazed and impressed by the endurance of the soldiers fighting. We would never survive this today.” See her publication interview here.

4. Take a break from your own work, and read about how other writers do research. Last winter I suggested for one of our common books Curiosity’s Cats – Writers on Research. These are wonderful essays on how writers of how genres uncovered the information they needed. The Hamline University bought several copies for our use.

5. Speaking of the Hamline University Library, contact librarian Kate Borowski when you come up with a problem or question. She is an amazing resource and dedicated to our program, as many of the third semester critical writers have discovered. Check out the other resources offered online at the Bush Library. 

6. When doing online research, if you want your Google search to bypass Wikipedia and go straight to a more elevated (!) source -- for example the New York Times or the Smithsonian Institution -- type in your keywords with followed by "site:nytimes.com" (no quotation marks) or "site:smithsonian.org" and you'll get a much more refined result.

7. Those of you at the July residency heard graduate Donna Koppelman read from her delightful Elvis story, with the amazing O.J. as Elvis. Here’s one of Donna’s research tips: “I have learned the value of immersing myself in a time period when writing about a certain thing.  Working on the Elvis book, I have been listening to Elvis Radio on XM (yes, there is such a thing) for months.  Every day someone close to Elvis calls in and tells stories about his life.”

8. Donna’s suggestion for interviews: “It’s hard to cold call all these people, explain who you are, what you want, and then get them comfortable enough to open up to you.  But the more I do it, the better I get.  AND the more I do it, the more I learn the right people to talk to usually aren’t the biggest names.  The governor’s receptionist gave me way more information than the governor ever would have.”

9. Current student Hayley Lerner is researching a nonfiction project on the Radium Girls. One step she took to find about more about this important, but little known story from decades ago was to locate their relatives. After many weeks, she heard back from one descendant that had a diary of one of the girls. A thrilling day for Hayley that renewed her enthusiasm and dedication to the project.

10. I will wrap up with advice from alum Tracy Mauer, the author of many nonfiction books. After Tracy has some basic knowledge of her subject, she puts it into one long document with footnotes and thinks about what she has learned. Then she tells it to another person, her husband, the dog, a stuffed animal. “If you can’t explain how an external combustion works to another person, you won’t be able to explain it to a kid.”

So dear writers, there are many ways to learn about a subject. Just jump in. And don’t forget to tell your friends. They often have leads. Requests for information on the Renegades site has helped many of us over the years.



Thanks for a fantastic article Claire. This will certainly give us all a wonderful place to start when we begin researching information for our next book.

*Claire Rudolf Murphy is the author of over a dozen books of fiction and nonfiction and a professor in Hamline University's Master in Writing for Children and Young Adults program.  To learn more about Claire and her writing, please visit her website or faculty page.