Kate Gale on blogging

One of the best aspects of the Writing Away Retreat is the opportunity it provides for writers to pick the brains of all those lovely keepers of the keys in the New York publishing industry. Or the LA publishing industry, as in the case of poet/editor/publisher/(unofficial) stand-up comedian Kate Gale.

Kate was one of the two folks I asked to critique my nonfiction children’s books projects…a conversation that quickly evolved into a discussion of the future of the children’s nonfiction book market. Since I’ve devoted years of my life to working on these two nf projects, you can imagine this is a subject near and dear to my heart.

See, here’s the deal: I started on the nf projects years before because nonfiction, theoretically, is easier to sell; I have a science background; and I actively enjoying researching and writing about my latest obsession in the nf world. The problem is this: now I’m a bit farther along in my writing career, and I’ve done quite a bit of market research, I’m realizing that the children’s nf book market is actually much smaller that I’d first believed. And most of the nf market is educational publishing, which is fun and all, but my two pet nf projects (the almost-finished, I’d-like-to-send-them-out-soon projects) definitely don’t fit most educational publishers’ lists. And I’m not sure they appeal to a wide enough audience to appeal to many trade publishers.

Wisdom from Kate: the future of children’s nf lies in online content associated with the book. Science teachers want the kind of stuff I’m writing—but I have a much stronger platform if I can offer online content to augment material in an actual book. For instance, can I include additional info on the books’ topics in my website? How about a choose-your-own adventure approach to expanding the material? An hour critique appointment transformed into an hour-and-a-half brainstorming session and ongoing conversations throughout the weekend on ways to add value to my book concepts.

What’s the blogging connection? Well, Kate authors a smart, funny blog that covers everything from her latest speaking engagement to her thoughts on news, education, and nude beaches. It also includes pieces that will appear in one of her own nf book projects. She sees the blog as a way to discipline herself to produce the material for her book as well as building a platform on the topic.

Hmm. One of my ongoing blogging concerns is what value I add to the blogging community. I mean, sure, I love blogging, I love reading about other writers’ ups and downs in their writing lives, and I love collecting my thoughts on how the heck we thrive in the crazy writing life some of us choose—but I also want to reach beyond my circle of writers to the folks who might, someday, become my readers. I want my writing to reach a wider audience. I’ve never had a good idea how to do that.

Thanks for the food for thought, Kate! And for my fantastic readers, I’ll add this: someday, somewhere, find a time and place where you can ask smart people in the publishing industry smart questions about writing, career, marketplace, and so on. Those conversations are valuable beyond measure.

Plus people who share this weird writing life have GOT to be the best, most interesting people in the world, so you’ll have a darned lot of fun, too :)

Cheryl

RMC-SCBWI Fall Conference Manuscript Critiques

For those of you anxiously awaiting news of your critique appointments for this year's RMC-SCBWI Fall Conference--postcards went in the mail yesterday. Did I mention that we had a ton of great submissions this year? I can't post who-received-which-assignment here, but if you entered and DON'T receive a postcard in the next day or so, please email me. A few entries arrived sans postcards (yes, I double-checked the envelopes) so I have a few assignments still sitting on my desk.

Meanwhile, here are a few stats:

Total Submissions: 68

Total Picture Book Submissions: 33

Total Novel Submissions: 38

Total Subs from SCBWI* members: 63

Total Subs from non-SCBWI members: 5

Total sent to literary agent Michael Stearns (Upstart Crow Literary): 9

Total sent to editor Allyn Johnson (VP & Publisher of Beach Lane Books, a small imprint of Simon & Schuster): 10

Total sent to editor Christy Webster (assistant editor at Random House): 9

Total sent to editor Kate Sullivan (assistant editor at Little, Brown): 11

Total people who screened manuscripts: 8

Total hours spent screening, assembling schedule, and putting together postcards: you don’t really want to know :P

If you didn’t get a chance to enter this year’s MS Critique, make sure to put it on your calendar for next year. The critiques are great, the fee minimal (just enough to cover expenses,) and it provides a rare opportunity to meet one-on-one with the person who critiques your manuscript.

Deadline for the 2010 RMC-SCBWI MS Critiques will be late July, 2010. I hope we have another record-breaking number of submissions!

:) Cheryl

Another great post from editor extraordinaire, Cheryl Klein

Cheryl Klein's blog has a beautiful post on the relationship between characters and plot. Here's an excerpt:

...good plotting grows out of the complications inherent in good characters, and the choices and situations those characters are driven to make.

She goes on from there to come up with "a character-driven view of plot construction, in which a a good book develops its story in five simple steps". Interested? Check it out at Brooklyn Arden: A Character-Based View of Plot.

Authonomy.com

I've been completely caught up in a new-to-me writing website for the past few days: http://www.authonomy.com/, by Harper Collins. From their "About" page:

Get Read. Get Noticed. Get Published.

authonomyTM is a brand new community site for writers, readers and publishers, conceived and developed by book editors at HarperCollins. We want to flush out the brightest, freshest new literature around - we’re glad you stopped by.

If you’re a writer, authonomy is the place to show your face – and show off your work on the web. Whether you’re unpublished, self-published or just getting started, all you need is a few chapters to start building your profile online, and start connecting with the authonomy community.

And if you’re a reader, blogger, publisher or agent, authonomy is for you too. The book world is kept alive by those who search out, digest and spread the word about the best new books – authonomy invites you to join our community, champion the best new writing and build a personal profile that really reflects your tastes, opinions and talent-spotting skills.

The publishing world is changing. One thing’s for sure: whether you’re a reader, writer, agent or publisher, this is an exciting time for books. In our corner of HarperCollins we’ve been given a chance to do something a little different.

We’d really love your help.

It's a very cool concept--but is it a good idea to post your work online to such a wide audience? Will that hinder your chances of publication? I asked Editorial Anonymous, who says "Go for it." See more of her thoughts here...and then come join me! Check out the site, see what you think, and search for "Cherylwriter" to see what I'm up to :).

Cheryl

Most Common Writing Mistakes: RMC-SCBWI 2008 Fall Conference Editor/Agent Panel (Part 2)

Continued from yesterday: More questions and responses provided by editors/agents John Rudolph (G.P. Putnam's Sons), Julie Strauss-Gabel (Dutton), Melissa Manlove (Chronicle), and Barry Goldblatt (Barry Goldblatt Literary Agency).

6. Explain how imprints/umbrella publishing organizations work?

Julie: Submit only to one person at the publishing company per pass, not to two people from two different imprints. As a rule, imprints don't compete against each other. YOU pick the best imprint for your manuscript before submitting. Also--never submit the same manuscript to two editors at the same imprint.

John: Each imprint has its own personality and set of submission guidelines. Note--you can submit to one imprint first, the to another.

7. What trends do you see in the children's publishing market?

All: If you (authors) see a trend in publishing, they (the editors/agents) have already bought that type of manuscript for the next several years. Don't try to follow trends.

Most areas of the industry are doing well except for picture books.

John: Even in picture books, there are exceptions, books that will sell.

Julie: There's a spread. There are two or three hugely-successful titles (for ex., vampire books). Then a few more of this type of book hit the shelves because readers are actively looking for them. Then this book type comes out in established series paperback originals. By that point, they aren't looking for more of the same.

Consider: they are currently working on they're 2010-2011 list.

8. What type of book do you want to see more of?

Barry: Good ones! There are lots of different types of readers, so a single "book formula" doesn't work.

John: It's too difficult to categorize. If a book is good, we buy it.

Barry: We don't want a book. We want writers or artists we can work with for a long time.

9. What type of book would you like to see less of?

Barry: Bad ones :)

Melissa: Books that will appeal to a broad audience. Ask yourself: how many people will love your manuscript? One hundred is not enough. Need to sell tens of thousands to make a book successful.

Julie: "Good enough" is not good enough for the children's writer. Ultimately, our goal as writers should deal with what happens when our books get to their kid readers.

10. What kind of competition do aspiring authors face? That is, what percentage of submissions do you actually acquire?

John: Small. In 2006, he wrote 500 letters to people who had potential. 10-12/year actually published.

Melissa: Receives unsolicited 12,000 subs/year, of which she publishes 1-2.

Barry: Signed no new writers last year. This year, he's signed two. He receives 200 queries per week.

[Cheryl: I think I'll remain in denial about those figures. Sheesh! I'm used to facing tough odds, but those are ridiculous.]

11. What do you want to see in a query letter or cover letter?

Barry: The purpose of the cover letter is to make him want to read the book. Don't spend time telling about yourself. The cover letter should be like the preview for a TV show. A preview doesn't tell you about the actors' schooling or previous films. Focuses on the story and why you want to see it. The letter should read like flap copy. Anything extra provides him with potential reasons to say no. (Note: Later, Barry added that he doesn't find it valuable to hear about publishing credits, etc., in a cover letter, either. It's all about the book concept and the writing.)

John: DON'T tell him how to sell your book.

Julie: Keep the letter simple. Put a taste of what's in the book, but not too much. (Barry disagrees. In his letters, he wants more info about the book.)

Melissa: Don't put in "It's charming/great/my kids love it." Tell her about the manuscript.

Note: all but Barry would like to see publishing credits, if relevant. However, these are only 10% of the decision.

:) Cheryl

Most Common Writing Mistakes: RMC-SCBWI 2008 Fall Conference Editor/Agent Panel

Here are some of the questions and responses provided by editors/agents John Rudolph (G.P. Putnam's Sons), Julie Strauss-Gabel (Dutton), Melissa Manlove (Chronicle), and Barry Goldblatt (Barry Goldblatt Literary Agency).

1. What are some of the most common mistakes you seen in manuscript submissions?

John: Submissions inappropriate for Putnam's list--mass market titles, nonfiction manuscripts geared more toward educational publishing than trade publishing

Julie: Bad writing, submissions that don't follow the guidelines, non-ambitious writing. Her guidelines state no unsolicited email queries: she deletes any email queries unread.

2. When you look at a manuscript that might get a personal rejection letter, what problems do you often see?

Melissa: Great writing, but the story lacks a strong hook

Barry: Beautiful language, but no story yet

Julie: Inevitably, she sees plotting problems. She considers this the last piece of the puzzle. Voice and character HAVE to be solid.

3. What advice can you give an author on the midlist to help him or her "break out"?

Barry: There's no longer any such thing as the midlist. Writers either "hit it" or don't. They have to challenge themselves every time, with every new manuscript.

Julie: The authors who are most supported by her house are those who promote and support their own books.

Melissa: Struggling authors are often writing books that appeal only to a narrow audience

4. What sorts of revision requests do you make before acquiring a manuscript?

John: All kinds! Might suggest plot changes, a new ending for a picture book, a chance in writing tense...there isn't one kind of change he requests more often than another.

5. Why are you willing to work through revisions with an author before acquisition?

Julie: It's standard to go through a round of revision before acquisition. This is an important step--it allows both sides to "feel out" the revision process and how it will work. Authors should always be open to working through revisions. Revision requests are only made when the book is close.

Melissa: Writing is one skill and revision is another. She wants to know if you have that skill before agreeing to work with you.

...More tomorrow!

:) Cheryl

Meet the RMC-SCBWI 2008 editors and agents: John Rudolph, Melissa Manlove, Julie Strauss-Gabel, Barry Goldblatt

More from the 2008 RMC-SCBWI Fall Conference: Editor/Agent Panel

One of the conference's most valuable sessions (in my opinion) was an editor/agent panel addressing various questions about this crazy business of writing and publishing. Panel members included:

• John Rudolph*, Executive Editor at G.P.Putnam's Sons, an imprint of the Penguin Young Readers Group. "He edits picture books, middle-grade and young adult novels, and a small number of nonfiction titles. Among the authors and illustrators he's been lucky enough to work with are Pete Seeger, Tomie dePaola, Richard Michelson, Nathaniel Philbrick, Padma Venkatraman, Jack Higgins, Brenda Woods, Pete Hautman, R. Gregory Christie, Steve Schindler, Mary Azarian, and Wendy Anderson Halperin." Putnam publishes 55-60 books per year.
• Melissa Manlove*, Assistant Editor at Chronicle Books. Acquires picture books, chapter books, middle grade, and YA. She describes herself as "passionate about all genres and topics in children's books, with the exception of religious themes. When acquiring, she looks for fresh takes on familiar topics as well as the new and unusual. More important than topic, however, is an effective approach and strong, graceful writing."
• Julie Strauss-Gabel*, Associate Editorial Director at Dutton Children's Books. She edits "picture books and fiction for older readers (middle grade and young adult). Some of Julie's books include The Milkman and Market Day by Carol Cordsen,...; Easy Street, by Rita Gray...; Printz Medalist Looking for Alaska, and Printz Honor Book An Abundance of Katherines, both by John Green...; Edgar Award Winner Buried by Robin Merrow MacCready; Gods of Manhattan by Scott Mebus; Eleven, Twelve, and Thirteen and The Fashion Disaster that Changed My Life, by Kauren Myracle; and Safe by Susan Shaw." More info about Dutton Children's Books can be found at www.duttonwritersroom.com .
• Barry Goldblatt has owned and operated his own literary agency since September 2000. He represents authors such as Holly Black, Cassandra Clare, and Libba Bray. He has about 45 current clients. Although he's gained a name as a "fantasy agent," he represents writers of many types. More info about Barry and his agency can be found at www.bgliterary.com

I'll cover the panel's response to a number of writing/publishing related questions tomorrow (such as: What are the most common writing mistakes you see? What problems might you see in a manuscript that merits a personal rejection? What advice can you give an author on the midlist?)

:) Cheryl

* Information obtained from speaker biographies, Letters & Lines RMC-SCBWI Fall Conference 2008 handout.

Notes from Julie Strauss-Gable's First Pages Session

In case you don't know, a "first pages" session is one where writers can anonymously submit the first page of a manuscript, which an industry professional (in this case, Julie S-G) critiques before her attentive audience. Some of these sessions are a total waste of time to attend and some provide great insight into the editor/agent's interests, editing style, and (if you submit a page) your own manuscript. Julie S-G didn't disappoint. She zipped through pages rapidly enough that we had time at the end for a few questions; but she didn't skimp on providing meaty critique.

Here are some of the common complaints she had about picture book first pages:

• The story is targeted at too mature a reader. She said to remember that the picture book market is driven by the younger end reader, so concepts need to be simple, characters young, and rhythm/pacing/theme especially appropriate to children 4 to 6 years old.


• In stories with repetition: several times, she commented on a lack of consistency in the pattern or a lack of "expected rhythm" for the child to anticipate and follow.


• In some, the story ideas were nice, but they didn't build. The story became just a series of examples. For example, one story featured pairs of animals related to each other in some way. (I won't get too specific for the author's privacy). The pairing concept was interesting, the story language lovely--but the story didn't build in any way. Ask yourself, Julie said, how to encourage page turns? How will each creature pair be illustrated? Will their environments be too similar? A picture book needs to use variety in settings.


• In some, the complaint was that the story didn't provide enough comfort for young readers--whether that comes in the form of repeated phrases, repeated paragraph or sentence structure, or in the characters themselves.


• Another common complaint: the picture book that contains too much explaining or scene setting. For ex., a picture book about a labradoodle can't contain paragraphs explaining what a labradoodle is.

Take-homes for me: First, that Julie S-G is a fabulous editor and I'd love to have a first page critiqued by her; second, that picture books have a number of definable elements that help them to work:

• Strong, unique characters


• Variety of settings or scenes


• Repetition in the language or story format


• Comfort for young children


• Fun for the adult reader


• Spare, spare, language where every word counts


• A building story line with a surprise of some sort at the end.

It makes me itch to work on my picture book ideas again--but I'm kind of busy with other projects still and I'm *trying* not to start more until I have some closure on the others.

:) Cheryl

A Note re. Front Street Press

For all you out there who love the Boyds Mills/Front Street duo, it sounds like Front Street is in the midst of a personnel upheaval. Publisher Stephen Roxburgh has left Boyds Mills Press and Boyds Mills' North Carolina office is closing. Bummer. Hope Front Street sticks around--they're a great line.

For the full article, visit: http://www.publishersweekly.com/article/CA6597124.html?nid=2788&

:) Cheryl

Fall Conference, here I come!

The countdown is almost over in my house...and no, not all of us are counting down to the release of Brisingr, which is the other countdown in my household. Nope, I've been counting the days until the 2008 RMC-SCBWI Fall Conference. Why?

1. We have an especially great lineup of speakers coming: editors Julie Strauss-Gabel (Dutton), John Randolph (Putnam), Melissa Manlove (Chronicle); agent Barry Goldblatt; and a cadre of fantastic local and imported authors.


2. I'm receiving a critique on the opening of Juggling from one of the afore-mentioned fantastic speakers.


3. I'm giving my first presentation to an SCBWI gathering: "Online Critique Groups: A Busy Writer's Best Friend".


4. The weekend will feed my writer's intellect with thoughts about theme, plot, characters, book structure, and all the other fun things we writers try to figure out...


5. ...and it will feed my writer's soul with inspiration, encouragement, time with friends, and laughter with other writers. Because let's face it: you haven't laughed until you've spent an evening with a room full of people who are kooky in all the same ways you are.

So wish me luck on the talk. I'll be back with conference reports next week!

:) Cheryl

Lisa Findley leaves Random House

This came in from the Rocky Mountain SCBWI listserve today:

Lisa Findlay, Editor at Random House Books for Young Readers, is leaving publishing to pursue a teaching career. Although she's moving toMassachusetts, she's not leaving the children's book scene altogether. She's available for freelance editing if you want to contact her at lcf@...

(Some of you may remember that Lisa was a speaker at our 2003 FallConference--she was an Assitant Editor then and we were her firstconference. She did a great job and we're sorry to see her leave publishing but glad she'll still stay involved.)

I still have Lisa Findley's business card in my small collection of cards from editors I'd like to work with someday. She read the first page of my manuscript when it was in its early stages and was very encouraging...she was a delight. As our co-RA, Denise Vega, said: we're sorry to see her go. She was a perceptive and delightful person.

~Cheryl

Thursday's thing to love...CONTESTS!

Pictured here are some of the winners of last year's PPWC Paul Gillette Memorial Writing Contest (http://www.ppwc.net/contest.html.) That's me in front, in black, hoping my friend Colleen won't jab me in the ribs before the photographer finishes....

You gotta love writing contests. They're a great way to get exposure to editors and agents. Often, contests also offer the option of a written critique, providing valuable feedback from someone with more writing experience. Besides, they give us a deadline, which is never a bad thing.

Right now, I'm preparing for the 2008 Paul Gillette Writing Contest again. This is a contest for unpublished writers (*unpublished in book-length fiction only*) and it includes categories for both children's and YA authors as well as multiple adult categories. The top three entries in each category go through a final round of VIP judging by an editor. It sure beats the slush pile as a way to access an editor's eye!

Like any contest, (and like publishing, for that matter,) judging is subjective. My manuscript, The Last Violin, placed first last year in the children's category--but I know of several manuscripts that I consider just as good, if not better, that didn't place at all. I have friends who received incredibly valuable feedback on their manuscripts, and others whose judges didn't seem to get their entries at all. There's definitely a bit of luck involved...but if your writing is beautiful, if your story is well-structured, and if your dreaded synopsis is coherent, you stand a decent chance of rising to the top of the stack. And with a little luck, you might even win.

It's risky, of course. Writing always is. But hey, risk gets easier with practice, so why not?

:) Cheryl

Conference Report #2: More on editors and agents

At the 2007 RMC-SCBWI Fall Conference, the first session was a panel where editors Theresa Howell, Meredith Mundy Wasinger, Martha Mihalick, and agent Andrea Brown answered a series of questions put to them by our chapter's regional advisor, Becky Clark Cornwell. I won't recap the entire session, but here are a few of the responses that I found most illuminating.

1. What makes you say yes or no to a manuscript?

Martha: If she likes it, then she has to consider whether it fits her list, whether it's marketable, etc.

Theresa: Does she like it and will it sell?

Andrea: Her agents acquire a manuscript if a) they love it, and b) they can think of three editors to pitch the manuscript to who might also love it. They also are interested in clients who will develop long-term careers, not one-book clients.

2. What do you look for in a query or cover letter?

Meredith: She looks for the very best paragraph from the manuscript itself, something that shows off the story's style, voice, and character. She wants a one-page cover/query and wants to see originality in the story.

Martha: First, does the person know her? She prefers short covers and queries. She wants to read the work itself.

Theresa: She feels like the story speaks for itself. She wants the cover or query to include a blurb or sneak peek at the story.

Andrea: She wants the cover or query letter to be as short as possible. Two paragraphs. In the first, she wants to know the book's length, genre, and a three-line Hollywood pitch describing the story. In the second paragraph, she wants to hear anything else that's relevant about the author's writing career. And, of course, covers and queries should include all relevant contact information.

3. What makes you groan in a manuscript?

Theresa: bad rhyme, cliches, overdone topics, flat voice. What makes her sit up and take notice? A fresh idea, a strong voice.

Martha: singsong rhyme, fantasy manuscripts with character names that contain apostrophes (they make her head hurt,) made-up languages. What makes her take notice? "Yes" moments, moments when the character says something she never thought of before.

Meredith: letters claiming "my grandkids loved it" or "this is the next Harry Potter!" What does she notice? Great writing, before voice and character.

Andrea: cover letters that begin "you've never heard this idea before." She wants books that stick with the universals of a child's universe. If a story hasn't ever been published before, maybe there's a reason. Publishers, she says, want more of the same, more of what's selling, but with the author's unique twist.

4. What is the most important thing in a children's book manuscript?

Martha: honesty

Meredith: connection to a child's world

Theresa: good writing that keeps the audience in mind

Andrea: an author who is respectful and wants to be the "perfect author"

5. What types of manuscripts would you like to see more of?

Andrea: well-written, really commercial, fabulous books!

Theresa: She was looking for--and will be looking for--fresh, artful, progressive books for 4-8 year olds. Books with artistic merit and literary integrity.

Martha: Literary but also a little commercial. Picture books that will hold up to multiple readings. Novels with fresh, great voices; characters kids will care about and identify with.

Meredith: character-based stories, not just concept stories. Humor.

Conference Report #1: Editors and Agents

First, the disclaimer: I'm beginning to realize that my opinions of children's book editors and agents might not be as useful as they first appear. I haven't yet met a children's editor or agent who I didn't like. Maybe it's the field. Every one I've met has been generous, kind, fun, and absolutely human. I hear this isn't the case in all of publishing, but it's my experience in the world of children's publishing.

I'll spend the next week compiling thoughts and information about the various industry professionals I met at the 2007 RMC-SCBWI conference, but here's the quick summary:

• Andrea Brown, literary agent, Andrea Brown Literary Agency, Inc. This is one of the most knowledgeable industry professionals I've ever met. She's tough, straightforward, all business, and knows her stuff. She plugged the Big Sur conference, a writing workshop for children's writers run by her agency. It sounds wonderful--a weekend in which authors work with an editor, an agent, and an author in their genre. And lest you think my source is biased, I've heard only the best of reports from past attendees as well. For more factual sorts of info, see her bio on her website, http://www.andreabrownlit.com/. My take? She's not the agent for me, since she doesn't rep fantasy, but I left with renewed determination 1) to attend Big Sur next year, and 2) to query her agency.



• Meredith Mundy Wasinger, editor at Sterling Publishing. She's incredibly easy to talk to and incredibly sympathetic to authors. She's one of those people who puts you at ease after two minutes of conversation. What makes her willing to work with an author? Character, voice, and a personal passion for the work. If a story has a great character and a great voice, she's willing to hang in there. My take? Well, since she publishes only picture books, I don't think I'll be submitting to her. Bummer. I'd love to work with this classy lady! Maybe I'll have to take another stab at picture book writing. After I finish my five other projects....



• Martha Mihalick, recently promoted editor at Greenwillow Books. I didn't get to spend as much one-on-one time with Martha, but she gave great feedback in the "First Pages" sessions. Maybe "First Pages" should be renamed "Test-the-Editor," since they require the reading editor to process and comment on stories so quickly and with so little information. She also provided manuscript critiques to a fortunate few, and reports state that she did a fine job of discerning what worked and didn't work in manuscripts. What makes her willing to work with an author? A moment in the work that speaks to her, a cool plot, a moment when a character says something that surprises her with its truth. She also prefers authors who are great to work with during revisions :). My take? She's a delight as a person, sharp as an editor, and likes fantasy, so I'm currently researching Greenwillow's list. They seem to publish fantasy that's a little "higher" in style than my own magical realism story, The Last Violin, but I'll probably still send her the first ten pages or so.



• Theresa Howell, editor of Rising Moon and Luna Rising--which were recently acquired by another publishing house. In the short term, that means that they aren't accepting any manuscripts; in the longer term, though, they expect to need a lot of manuscripts once things are straightened out. Theresa publishes picture books with everyday themes, such as Liz Rusch's A Day with No Crayons (which comes out in November, if all goes well.) I spent the least time with Theresa, but hear she gave great critiques.

More on these four tomorrow!

:) Cheryl