 Inclusive Storytelling: |
 | Sharon Wagner is a supernatural writer, inexhaustible travel blogger, spirit investigator (liquid, not ethereal), cat wrangler, and former illustrator of children’s books, including Maya Monkey. Creative from birth, she never stops dreaming of magical worlds to unravel with words. When she’s not wandering the jungles of Central America, she lives in Minneapolis and Naples with her husband and two naughty cats. Her debut novel, The Levitation Game, won the Foreword INDIES Book of the Year Award for Science Fiction. Sharon’s short story, Default 666, received an honorable mention in the 93rd Annual Writer’s Digest Competition. Sharon’s upcoming novel, Chorus of Crows, will launch in 2026 with Dreamsphere Books! Discover more at https://sharonwagnerbooks.com/ |
The Power of Representation: Why Diverse Books Matter
When readers see themselves reflected in the pages of a book, something magical happens. They feel seen. They feel heard. And they feel valued. Representation in literature is more than a buzzword—it’s a lifeline for many readers seeking stories that validate their identities and experiences.
Stories as Mirrors and Windows
The phrase “windows and mirrors,” coined by Dr. Rudine Sims Bishop, reminds us why representation matters so deeply. Books act as mirrors when they reflect our own experiences, and as windows when they offer glimpses into lives different from ours. Both are vital. For marginalized communities—especially those who have long been erased or stereotyped in mainstream media—authentic stories can affirm their humanity, culture, and worth.
The Power of #OwnVoices
But representation isn’t just about who is on the page; it’s also about who gets to tell the story. The #OwnVoices movement underscores the importance of letting individuals from marginalized groups speak for themselves. Authenticity, nuance, and cultural truth come from lived experience. By championing these stories, we honor the complexity of identity and push back against tokenism and harmful tropes.
Building Empathy Through Diverse Books
For young readers, diverse books can be particularly impactful. Seeing a character who looks like them or shares their struggles can bolster confidence and spark dreams. For all readers, these books cultivate empathy, broaden understanding, and challenge assumptions. Stories are how we connect as human beings—they build bridges in divided spaces.
How Small Presses Are Leading the Way
Publishing, as an industry, still has far to go. But independent and small presses are often leading the charge, taking risks on stories that bigger houses might overlook. By investing in underrepresented voices, we help shift the literary landscape toward something more inclusive, honest, and vibrant.
At our press, we believe every reader deserves a seat at the literary table. And every writer deserves the chance to share their truth. Because when stories are more inclusive, everyone wins.
At our press, we believe every reader deserves a seat at the literary table. And every writer deserves the chance to share their truth. Because when stories are more inclusive, everyone wins.
Top Ten Tips for Preparing Your Manuscript for Submission to a Publisher
Submitting your manuscript to a publisher is a pivotal step in the journey of becoming a published author. It’s where your hard work and creativity meet the professional world of the publishing industry. A well-prepared manuscript can make a strong first impression, increasing your chances of acceptance. In this article, we’ll explore the top ten tips for preparing your manuscript for submission, ensuring that your work is polished, professional, and ready for review.
1. Follow Submission Guidelines to the Letter
Before you even start preparing your manuscript, take the time to carefully read and understand the submission guidelines provided by the publisher. Every publisher has their own specific requirements, such as word count, font type and size, margin widths, and document formatting. Failing to adhere to these guidelines can result in your manuscript being rejected before it is even read.
Some publishers prefer email submissions, while others may require a physical copy. Some may ask for a full manuscript, while others may only request a sample of the first few chapters. Make sure to include all the requested documents, such as a cover letter, synopsis, or author bio, if required. A meticulous approach to submission shows that you are professional and respectful of the publisher’s process.
Some publishers prefer email submissions, while others may require a physical copy. Some may ask for a full manuscript, while others may only request a sample of the first few chapters. Make sure to include all the requested documents, such as a cover letter, synopsis, or author bio, if required. A meticulous approach to submission shows that you are professional and respectful of the publisher’s process.
2. Polish Your Manuscript with Multiple Edits
The first draft of your manuscript is just the beginning. Editing is where the real magic happens. The more time and effort you put into editing, the stronger your manuscript will be.
Start by revisiting your manuscript and reading it critically. Check for inconsistencies in plot, characterization, and pacing. Next, focus on sentence structure, grammar, and punctuation. These technical aspects are crucial for ensuring that your work is clear, readable, and professional.
Don’t hesitate to engage in multiple rounds of editing. Start with big-picture changes and work your way down to finer details. Consider using beta readers—trusted individuals who can provide constructive feedback on your manuscript from a reader’s perspective.
If possible, hire a professional editor to help with this process. A professional can offer valuable insights into areas of improvement, particularly when it comes to voice, tone, and flow.
Start by revisiting your manuscript and reading it critically. Check for inconsistencies in plot, characterization, and pacing. Next, focus on sentence structure, grammar, and punctuation. These technical aspects are crucial for ensuring that your work is clear, readable, and professional.
Don’t hesitate to engage in multiple rounds of editing. Start with big-picture changes and work your way down to finer details. Consider using beta readers—trusted individuals who can provide constructive feedback on your manuscript from a reader’s perspective.
If possible, hire a professional editor to help with this process. A professional can offer valuable insights into areas of improvement, particularly when it comes to voice, tone, and flow.
3. Write a Compelling Query Letter
A query letter is your first chance to grab a publisher's attention, so it's essential that it stands out. It should be concise, professional, and persuasive.
Start with a strong introduction. Introduce yourself and your manuscript in a clear, direct manner. Include the title of your manuscript, the genre, and the word count. A brief, compelling summary of your story should follow—think of it as an elevator pitch that captures the essence of your manuscript in a few sentences.
Don’t forget to mention why you’re submitting to that particular publisher. If they specialize in the genre you’re writing in or have an interest in your subject matter, make that connection in your query letter. Finally, finish with a polite sign-off, and don’t forget to thank the publisher for considering your work.
Start with a strong introduction. Introduce yourself and your manuscript in a clear, direct manner. Include the title of your manuscript, the genre, and the word count. A brief, compelling summary of your story should follow—think of it as an elevator pitch that captures the essence of your manuscript in a few sentences.
Don’t forget to mention why you’re submitting to that particular publisher. If they specialize in the genre you’re writing in or have an interest in your subject matter, make that connection in your query letter. Finally, finish with a polite sign-off, and don’t forget to thank the publisher for considering your work.
4. Prepare a Strong Synopsis
Along with your manuscript, many publishers will request a synopsis of your work. A synopsis is different from a summary: it not only describes the plot but also highlights key themes, character arcs, and the overall narrative structure.
Your synopsis should be between 1-2 pages long (depending on the publisher’s preference). It should cover the major plot points, including the beginning, middle, and end, and provide insight into your protagonist's journey. Don’t be afraid to give away the ending—publishers want to know how the story concludes and how it ties together.
Be concise and avoid unnecessary details, focusing instead on the core elements of your manuscript. While it’s important to include the most important events, it’s equally important to highlight the emotional impact and stakes of your story. A strong synopsis shows that you can effectively communicate the essence of your work in a brief yet compelling way.
Your synopsis should be between 1-2 pages long (depending on the publisher’s preference). It should cover the major plot points, including the beginning, middle, and end, and provide insight into your protagonist's journey. Don’t be afraid to give away the ending—publishers want to know how the story concludes and how it ties together.
Be concise and avoid unnecessary details, focusing instead on the core elements of your manuscript. While it’s important to include the most important events, it’s equally important to highlight the emotional impact and stakes of your story. A strong synopsis shows that you can effectively communicate the essence of your work in a brief yet compelling way.
5. Ensure Your Manuscript Is Properly Formatted
Proper formatting is one of the simplest yet most essential steps when preparing your manuscript for submission. Publishers are inundated with submissions, and following the correct format makes your manuscript easier to read and review.
Common formatting requirements include:
Common formatting requirements include:
- Font: Use a standard font such as Times New Roman, 12-point size.
- Spacing: Double-space the entire manuscript, with no extra space between paragraphs.
- Margins: Use 1-inch margins on all sides.
- Page numbers: Include page numbers in the header or footer.
- Title Page: Include a title page with the title of your manuscript, your name, and your contact information.
- Indentation: Indent the first line of each paragraph (usually 0.5 inches).
6. Check for Consistency in Characterization and Plot
Consistency is crucial in a manuscript, especially when it comes to character development and plot progression. Before submitting your manuscript, take the time to ensure that your characters behave consistently throughout the story. If a character acts out of character, it can confuse readers and diminish the impact of your work.
Similarly, review the plot for any holes or inconsistencies. Ensure that events unfold logically and that your story arc is coherent. Plot threads should be tied up by the end of the manuscript, and loose ends should be resolved in a way that makes sense for the story.
If you’ve received feedback from beta readers or critique partners, review their comments for potential inconsistencies that might need to be addressed.
Similarly, review the plot for any holes or inconsistencies. Ensure that events unfold logically and that your story arc is coherent. Plot threads should be tied up by the end of the manuscript, and loose ends should be resolved in a way that makes sense for the story.
If you’ve received feedback from beta readers or critique partners, review their comments for potential inconsistencies that might need to be addressed.
7. Ensure Your Manuscript Is Free of Typos and Grammatical Errors
Even minor spelling or grammatical errors can leave a negative impression on a publisher. A manuscript that is riddled with mistakes will distract the reader and make it difficult to focus on the quality of your writing.
Before submitting, run your manuscript through spell check and grammar check. However, these tools aren’t foolproof, so take the time to read through the manuscript yourself. It’s also helpful to read your manuscript out loud, as this can help you catch errors that might be overlooked when reading silently.
If possible, have someone else proofread your work. A fresh set of eyes can often spot mistakes that you might have missed.
Before submitting, run your manuscript through spell check and grammar check. However, these tools aren’t foolproof, so take the time to read through the manuscript yourself. It’s also helpful to read your manuscript out loud, as this can help you catch errors that might be overlooked when reading silently.
If possible, have someone else proofread your work. A fresh set of eyes can often spot mistakes that you might have missed.
8. Include a Professional Author Bio
Along with your manuscript, you may need to include an author bio. This is your chance to introduce yourself and share relevant details that establish your credibility as a writer. Keep it brief and focus on your writing achievements, education, or any publications you’ve had (even self-published works).
If you have any relevant experience related to the topic of your manuscript, be sure to mention it. For instance, if you’re writing a historical novel, having a background in history could be relevant. If you’ve worked as a journalist, include that information as it may demonstrate your writing skills.
Don’t overdo it—publishers want to know about your qualifications without being overwhelmed by unnecessary details.
If you have any relevant experience related to the topic of your manuscript, be sure to mention it. For instance, if you’re writing a historical novel, having a background in history could be relevant. If you’ve worked as a journalist, include that information as it may demonstrate your writing skills.
Don’t overdo it—publishers want to know about your qualifications without being overwhelmed by unnecessary details.
9. Double-Check Your Manuscript for Unnecessary Filler
Filler content—long-winded passages, redundant phrases, or irrelevant information—can slow down the pacing of your manuscript and detract from its overall impact. Before submitting, review your manuscript for any passages that don’t contribute to the story or character development.
Look for areas where you can tighten the writing, eliminate unnecessary details, or streamline sentences. Ask yourself if each scene, line, or paragraph advances the plot or adds something meaningful to the overall narrative.
Tight writing shows respect for the reader’s time and demonstrates that you’ve crafted a focused, purposeful manuscript.
Look for areas where you can tighten the writing, eliminate unnecessary details, or streamline sentences. Ask yourself if each scene, line, or paragraph advances the plot or adds something meaningful to the overall narrative.
Tight writing shows respect for the reader’s time and demonstrates that you’ve crafted a focused, purposeful manuscript.
10. Submit with Confidence and Patience
Once your manuscript is ready, it’s time to submit! Remember that the submission process can take time. Publishers often receive hundreds of manuscripts, so it might take several months before you hear back. Don’t be discouraged if you don’t receive an immediate response.
In the meantime, continue working on your craft. Whether you’re writing a new manuscript or fine-tuning your skills, stay engaged with the writing community. Rejection is a part of the process, but persistence and patience are key.
In the meantime, continue working on your craft. Whether you’re writing a new manuscript or fine-tuning your skills, stay engaged with the writing community. Rejection is a part of the process, but persistence and patience are key.
Conclusion
Preparing your manuscript for submission to a publisher is an exciting yet challenging step in your writing journey. By following these top ten tips, you’ll ensure that your manuscript is polished, professional, and ready to make a strong impression. With careful attention to detail, perseverance, and a commitment to your craft, you’ll increase your chances of securing a publishing deal and taking the next step in your writing career.
Good luck, and happy submitting!
Good luck, and happy submitting!
Why Small Presses Are the Heartbeat
of the Literary World
In the ever-changing landscape of publishing, small presses are the unsung heroes that keep the literary world vibrant and diverse. They are where fresh voices are discovered, unique stories are told, and passionate authors are nurtured. But what exactly makes small presses so special? Let’s dive into the reasons why they’re the heartbeat of the literary world and why you should pay attention to what they’re publishing.
Diverse Voices
One of the most significant contributions of small presses is their ability to amplify voices that might otherwise go unheard. Many small presses are committed to publishing authors from diverse backgrounds, cultures, and experiences. Orange Blossom Publishing is among the presses that understand the importance of representation and the need for stories that reflect the complexity of our world. For readers, this means discovering books that offer new perspectives and challenge conventional narratives.
Personalized Attention for Authors
Unlike the impersonal nature of large publishing houses, small presses like OBP, take a more hands-on approach when working with authors. Our writers have a direct line of communication with their editors, who provide thoughtful and detailed feedback. Orange Blossom Publishing recognizes the talent and effort of our authors and strives to support them during every step of the publishing process, and beyond.
Supporting Local Authors
Small presses like Orange Blossom Publishing often have a deep connection to the communities they serve. Many are locally owned, and they frequently support regional authors by publishing their work, which helps keep local literary scenes thriving.
Small presses often foster strong relationships with independent bookstores, libraries, and literary festivals, helping to create a tight-knit network of readers, writers, and publishers who are all invested in keeping the literary world alive and growing.
Orange Blossom Publishing founder Arielle Haughee is very involved in the Central Florida literary world, often attending conferences, workshops, and community events to promote literacy and diversity in literature.
Small presses often foster strong relationships with independent bookstores, libraries, and literary festivals, helping to create a tight-knit network of readers, writers, and publishers who are all invested in keeping the literary world alive and growing.
Orange Blossom Publishing founder Arielle Haughee is very involved in the Central Florida literary world, often attending conferences, workshops, and community events to promote literacy and diversity in literature.
Support a Small Press
Whether you’re an avid reader or an aspiring author, supporting small presses can make a huge difference. By purchasing books from independent presses, you’re not only discovering new voices and stories, but you’re also helping to keep the literary world diverse, creative, and thriving.
As a small press, we take immense pride in the work we publish and the authors we support. Each book we release has its own story, and it’s our goal to ensure that those stories reach as many readers as possible.
As a small press, we take immense pride in the work we publish and the authors we support. Each book we release has its own story, and it’s our goal to ensure that those stories reach as many readers as possible.
Ready to Discover Your Next Favorite Book?
Browse our catalog today and explore the unique, diverse, and thought-provoking stories we publish. Whether you're into nonfiction, romance, picture books, or young adult fiction, we've got something for every reader!
by Arielle Haughee
Paring Down Paragraphs: Seven Tips for Paragraph-Level Revision
You’ve reread that first draft and are confronted with the reality that most writers have at this point: your paragraphs are bulky. What can you do to shape up your work? Here are seven tips to help you trim down at the paragraph level:
1. Essential Information
When drafting, there is a tendency to overwrite. You are thinking through your story and figuring things out, often including extras you don’t need in the final story. How can you tell if something is extra or not? Ask yourself:
- Does it move the plot forward?
- Does it reveal character?
- Is it necessary for the setting?
- Is it integral to the theme?
2. Vary Sentence Structure
Another way to clean up your paragraphs is to take a look at the types of sentences you have. Variety keeps the reader interested. If you have a paragraph full of long sentences, figure out how you can trim some of those down. Short sentences are also a way to get reader attention. They work.
Draft Version
Jumping through the tangled twist of vines, he found himself sinking quickly in a huge pool of quicksand. He kicked his legs and yelled for help while searching his surroundings for anything that could help him get out. As he reached for a nearby branch, the leaves parted and a jaguar growled loudly and sunk down, ready to leap forward. (word count 60)
Revised Version
He leapt through the tangled vines and landed on soft ground. Too soft. He sank down to his knees. Before the quicksand swallowed him entirely, he grabbed a nearby branch. A vicious growl shook the trees. The leaves parted. A jaguar slunk down on his haunches. (word count 46)
3. Summary Sentences
One key thing to remember is the reader can infer. You don’t always need to be direct. Summary sentences are those that sum up what was just shown to the reader. The writer really wants to make sure the reader gets it, not realizing they already do.
Maddux bolted across the room and shoved his head under my feet. With each crash of thunder he jumped. Tiny, desperate whimpers streamed from his mouth. It was storming and he was scared.
The last sentence is unnecessary because it was already shown and the reader knows.
Maddux bolted across the room and shoved his head under my feet. With each crash of thunder he jumped. Tiny, desperate whimpers streamed from his mouth. It was storming and he was scared.
The last sentence is unnecessary because it was already shown and the reader knows.
4. Trimming Visual Description
More isn’t always better. This is often the case with visual description. A few telling details show much more than a full paragraph of general information. Hone your description down to what is interesting and what matters. Readers will build their own visuals and don’t need as much hand-feeding as you may think.
General Description
Shelves filled with books covered three of the walls. An old picture hung on the other. Morning sun filtered through a floor-to-ceiling window behind a massive oak desk. An antique globe stood in one corner and a grandfather clock in the other. A red and cream oriental rug took up most of the floor. (word count 54)
This is a general office setting — so general it could by anyone’s office. Cutting it down and focusing on details essential to the character gives a much better insight.
This is a general office setting — so general it could by anyone’s office. Cutting it down and focusing on details essential to the character gives a much better insight.
Telling Details Description
A massive oak desk occupied the room, the wood worn down in places from many elbows over many decades. The only picture hanging behind it, a framed portrait of his father. Books filled the shelves, all coated with a layer of dust except one —The Little Prince. (word count 46)
5. Past Perfect “Had”
One bad habit that clutters paragraphs is to overuse the word “had” when writing a flashback or previous event in the past tense — the past tense in the past tense. For example,
Minerva slammed on the breaks. The pedestrian tapped his phone, completely unaware. They were both lucky this time. Last winter she had lost control of her Honda Odyssey and had swerved through an intersection. She had skidded onto the sidewalk and…
That’s a lot of “had.” When writing the past perfect, you usually only need to include the first had. The rest are implied. The reader knows it’s a flashback.
…They were both lucky this time. Last winter she had lost control of her Honda Odyssey and swerved through an intersection. She skidded onto the sidewalk and…
Minerva slammed on the breaks. The pedestrian tapped his phone, completely unaware. They were both lucky this time. Last winter she had lost control of her Honda Odyssey and had swerved through an intersection. She had skidded onto the sidewalk and…
That’s a lot of “had.” When writing the past perfect, you usually only need to include the first had. The rest are implied. The reader knows it’s a flashback.
…They were both lucky this time. Last winter she had lost control of her Honda Odyssey and swerved through an intersection. She skidded onto the sidewalk and…
6. Tightening Dialogue
Dialogue should be crisp, every word examined carefully to ensure there is no fluff. It must move the plot forward or reveal character. If it doesn’t, cut it. Here are some places to trim back:
- Greetings and routines: Skip the Good morning and How are you as well as other routine parts of conversation. They aren’t interesting and aren’t needed to move the plot forward.
- Something the character already knows: If the character in your scene knows the date or what happened at the movies or whatever else, don’t put it in the dialogue just for it to be repeated to the reader. It makes the conversation inorganic.
- Reconveying an event: Likewise, if one character needs to sum up an event to bring another character up to speed, you don’t need to state everything that happened in the dialogue. Put in a narrative line like Sam told her what happened at the movies instead.
- Speaker tags: This is another area to remember the reader can infer. You don’t need a speaker tag with every line, especially if there is a character action after a line of dialogue. (“I don’t care what your mother thinks.” Sam slammed the book on the table.) Study the speaker tags in some of your favorite recently published books to get an idea of when they are used and how often.
7. Cartoonish Characters
This is what happens when too many character reactions are in a scene. He/She becomes a silly, exaggerated version of themselves, especially when those reactions are extreme. For example:
Mariella slammed her fists on her hips. “You told me you would be home six hours ago,” she yelled.
“I tried to call,” Tom said.
Mariella tapped her foot. “I didn’t have any missed calls,” she huffed.
“Maybe your phone isn’t working.”
Mariella clenched her teeth and stomped over to him. “You’re lying!” she screamed. Her heart hammered in her chest and her cheeks were red with rage.
Let’s be honest. Mariella is pretty annoying here. Cut back the character reactions to make her more realistic.
Hopefully these tips help you pare down your paragraphs and focus on content that really propels your story forward. These are all suggestions and not hard and fast rules of what not to write. You are the master of your story…now master it!
Mariella slammed her fists on her hips. “You told me you would be home six hours ago,” she yelled.
“I tried to call,” Tom said.
Mariella tapped her foot. “I didn’t have any missed calls,” she huffed.
“Maybe your phone isn’t working.”
Mariella clenched her teeth and stomped over to him. “You’re lying!” she screamed. Her heart hammered in her chest and her cheeks were red with rage.
Let’s be honest. Mariella is pretty annoying here. Cut back the character reactions to make her more realistic.
Hopefully these tips help you pare down your paragraphs and focus on content that really propels your story forward. These are all suggestions and not hard and fast rules of what not to write. You are the master of your story…now master it!
 | Arielle Haughee (Hoy) is a seven-time RPLA-winning author, editor, speaker, and publisher. She is the owner of the small press Orange Blossom Publishing and was previously the Executive Vice President and Marketing Chair for the Florida Writers Association. She was honored with the President’s Award from FWA in 2020, and in 2021 Pling’s Party was awarded Children’s Book of the Year. She is also the recipient of a Purple Dragonfly Award for Piper and a Moonbeam Children’s Book Award for Sixth Sunday. She has a serious reading addiction, fantasy romance her absolute favorite, and loves nothing more than good conversation paired with a good wine. She is surrounded by males at home—a husband, two sons, and an energetic dog—and tries to integrate as much purple and flowers in the house as possible. Read her tip for a cozy reading nook on Apartment Guide. |
Guest post by Marta A Oppenheimer
The Pink Minnie Mouse Backpack
My best friend Liz and I love thrift shopping. We get such joy when digging out a treasure buried under dusty, old castaways. Although we both enjoy found clothes and jewelry, my favorite finds are original paintings. I like This-Is-So-Ugly-It-Is-Cool works of art, anything with dogs and/or cats, and colorful creative pieces depicting fabulous and powerful-looking women. The day I rescued my adored Saint Anne from a Florida Keys thrift shop, I fell in love. I located the artist and exchanged emails with her. Now that is a treasured experience.
Curiosity About the Stories Behind Our Finds
When Liz and I discover a clunky brooch, well-read book, or shiny ring, we wonder about its origins. Our hungry ears crave its whispered secrets. Did the giant purple brooch adorn a powerful businesswoman’s suit or an elegant dress at a fancy soiree? How did the pages of the old book influence someone’s life? Did a handsome prince gift the ring to a beautiful princess as a promise of love and fidelity?
Ok. That last one is my curiosity, not Liz’s. She is not as fond of fairy tales as I am.
Every found object had an initial purpose, which has long been served. Liz and I give them a chance at a new life. I hope someday our treasures will whisper the stories of our friendship.
Ok. That last one is my curiosity, not Liz’s. She is not as fond of fairy tales as I am.
Every found object had an initial purpose, which has long been served. Liz and I give them a chance at a new life. I hope someday our treasures will whisper the stories of our friendship.
There are many kinds of thrift shops. Liz and I avoid the artsy, pretentious places where spending way too much for an old shirt is the trendy thing to do. These establishments tend to come with a bored, chic young woman tending the register, looking down at customers with condescension.
There is Goodwill, each store and merchandise unique to the host town.
“Green, Marta. Everything with a green tag is half price,” Liz declares, entering the store at a rapid pace.
The Color of the Week, with promises of additional discounts, causes a dizzying rush inside our heads. Like a bad case of vertigo.
Thrift shops that support non-profit animal rescue groups are packed with beautiful and affordable merchandise. The shopping experience is equivalent to locating the Hope Diamond at the Smithsonian, with the advantage of being able to purchase it for $3.99. These are the stores where I genuinely want to leave my money. I find a treasure, look thrifty cool, help animals—Win. Win. Win.
And then there are the sad thrift shops, usually church-based. The strong smell of mothballs and floating dust particles make everything blurry. The darkness is not a lack of electricity, but a murkiness that hangs in the air. A cranky and tired old man, like a Stephen King character who escaped from the pages of the novel, tends the register, collecting fifty cents for chipped mugs.
There is Goodwill, each store and merchandise unique to the host town.
“Green, Marta. Everything with a green tag is half price,” Liz declares, entering the store at a rapid pace.
The Color of the Week, with promises of additional discounts, causes a dizzying rush inside our heads. Like a bad case of vertigo.
Thrift shops that support non-profit animal rescue groups are packed with beautiful and affordable merchandise. The shopping experience is equivalent to locating the Hope Diamond at the Smithsonian, with the advantage of being able to purchase it for $3.99. These are the stores where I genuinely want to leave my money. I find a treasure, look thrifty cool, help animals—Win. Win. Win.
And then there are the sad thrift shops, usually church-based. The strong smell of mothballs and floating dust particles make everything blurry. The darkness is not a lack of electricity, but a murkiness that hangs in the air. A cranky and tired old man, like a Stephen King character who escaped from the pages of the novel, tends the register, collecting fifty cents for chipped mugs.
A Life-Changing Moment
On a recent visit to one of these, Liz and I hit the jackpot. We found an old mannequin covered with vintage brooches—each one for a dollar. All beautiful and unique. I am giddy imagining the secrets they keep. While making my selections, I overhear a conversation between what appears to be a young mother and daughter. The little girl is about my niece Natalia’s age, maybe nine? ten? They are shopping, like us, in this grim and dark store. But unlike us, they are not searching for treasures and stories. They are shopping here out of need.
“Look, mom, this pink Minnie Mouse backpack isn’t broken.” The little girl says. “It’s only five dollars.” She goes on with hesitation. “May I have a new one for this school year?”
The mother closes her eyes before softly responding. “Sorry, sweetheart.” She lowers herself to look at the girl face-to-face. “We don’t have extra money for new backpacks this year.” The sorrow emanating from this woman floats in the air, fighting with the dust particles for space.
“I understand, mom. It’s ok. Don’t be sad.” The little girl hangs the backpack where she found it and walks away, looking back once with resigned longing. “Maybe next year,” I hear from the distance.
The moment transports me in time, in that way memories often do, to our annual back-to-school shopping spree in Plaza Las Americas. Mami would buy my sisters and I Hello Kitty or Strawberry Shortcake (I preferred Ziggy) pencils with the matching case, and erasers, and notebooks, and binders, and stickers, and colorful markers, and backpacks.
Everything new.
We never gave the price tag a glance. We never lacked. We were never denied a five-dollar used pink Minnie Mouse backpack from a dark thrift store.
“Look, mom, this pink Minnie Mouse backpack isn’t broken.” The little girl says. “It’s only five dollars.” She goes on with hesitation. “May I have a new one for this school year?”
The mother closes her eyes before softly responding. “Sorry, sweetheart.” She lowers herself to look at the girl face-to-face. “We don’t have extra money for new backpacks this year.” The sorrow emanating from this woman floats in the air, fighting with the dust particles for space.
“I understand, mom. It’s ok. Don’t be sad.” The little girl hangs the backpack where she found it and walks away, looking back once with resigned longing. “Maybe next year,” I hear from the distance.
The moment transports me in time, in that way memories often do, to our annual back-to-school shopping spree in Plaza Las Americas. Mami would buy my sisters and I Hello Kitty or Strawberry Shortcake (I preferred Ziggy) pencils with the matching case, and erasers, and notebooks, and binders, and stickers, and colorful markers, and backpacks.
Everything new.
We never gave the price tag a glance. We never lacked. We were never denied a five-dollar used pink Minnie Mouse backpack from a dark thrift store.
I look down at my hands full of vintage pins to add to the dozens I already have at home. I am overwhelmed with shame. The darkness in my heart matching the one that engulfs the store.
How can I be so blind?
Entitled.
The stories these objects conceal might not be of fancy galas or business meetings. Some stories are of pain, of need, of longing.
I am choking from my sadness and need clean air in my lungs. I place the brooches I am holding next to the mannequin and step out of the store. Liz follows me.
“What happened, Marta?” She asks concerned. “Jack from The Shining at the register was rude to you? I’ll kick his ass.”
I, not for the first time today, wish our things will someday whisper stories of this friendship that fills my heart with a sense of safety and hope.
“No. It is not that.” I quickly explain. I do not want her to punch the thrift shop employee.
I share the story of the girl and the pink Minnie Mouse backpack.
Liz listens.
How can I be so blind?
Entitled.
The stories these objects conceal might not be of fancy galas or business meetings. Some stories are of pain, of need, of longing.
I am choking from my sadness and need clean air in my lungs. I place the brooches I am holding next to the mannequin and step out of the store. Liz follows me.
“What happened, Marta?” She asks concerned. “Jack from The Shining at the register was rude to you? I’ll kick his ass.”
I, not for the first time today, wish our things will someday whisper stories of this friendship that fills my heart with a sense of safety and hope.
“No. It is not that.” I quickly explain. I do not want her to punch the thrift shop employee.
I share the story of the girl and the pink Minnie Mouse backpack.
Liz listens.
A New Perspective
My friend speaks when I am done. “Marta, I too grew up shopping at thrift stores, not for fun like I do now.” Liz pauses to remember. I can see the vulnerability in my tough-as-nails friend. She goes on, “My mother didn’t have enough money to buy us new things.”
Liz was that little girl and all I want is to be in that store with Liz’s mother and buy Liz whatever backpack she wants. A new backpack. One with a bloody prom-dressed Carrie or with Linda Blair vomiting pea soup. Whatever Little Girl Liz wants.
“I am so sorry,” I say because, unlike Marty McFly, I cannot travel back in time.
Liz was that little girl and all I want is to be in that store with Liz’s mother and buy Liz whatever backpack she wants. A new backpack. One with a bloody prom-dressed Carrie or with Linda Blair vomiting pea soup. Whatever Little Girl Liz wants.
“I am so sorry,” I say because, unlike Marty McFly, I cannot travel back in time.
“Why be sorry?” She laughs, the momentary sadness gone from her eyes as fast as it came. “Look at The Familia now. My sisters and I are strong, independent women with careers and loving families. My brother has his own business and a lifelong partner.” She pauses. “And I have the best friend ever.”
That makes me smile.
She goes on. “My siblings and I are more today because of what we didn’t have then.”
She puts her arm around me. “Don’t feel sad for the little girl. Today her mother will buy her something that she needs, even if it’s not that pink Minnie Mouse backpack, and it’ll still be a treasure.”
“Thank you,” I say.
I wipe my tears with a crusty napkin I find buried in my jean’s pocket.
“Let’s go back inside and buy those dollar brooches so they can be witnesses to our friendship. And tell our stories.” Liz says rapidly entering the store.
I am right behind my friend.
That makes me smile.
She goes on. “My siblings and I are more today because of what we didn’t have then.”
She puts her arm around me. “Don’t feel sad for the little girl. Today her mother will buy her something that she needs, even if it’s not that pink Minnie Mouse backpack, and it’ll still be a treasure.”
“Thank you,” I say.
I wipe my tears with a crusty napkin I find buried in my jean’s pocket.
“Let’s go back inside and buy those dollar brooches so they can be witnesses to our friendship. And tell our stories.” Liz says rapidly entering the store.
I am right behind my friend.
 | Marta A Oppenheimer is a twice divorced woman searching for love in Miami, the land of palm trees, hurricane warnings, and Kim Kardashian lookalikes. In between dates, Marta is a published writer, graphic artist, storyteller, spoken word performer, and a non-profit animal rescue group volunteer. Marta’s stories have appeared on publications like Chicken Soup for the Soul and Miami Living Magazine, and performed on The Moth Miami StorySlam, Miami Book Fair, Lip Service Stories: True Stories Told Out Loud, Raw Storytelling: Live True Storytelling Show, The Only in Miami Show on Jolt Radio and more. The short story, “Love in a Pumpkin,” became a short film and an Official Selection of multiple film festivals. You can read more about her romance perils at: thedatingdaysofmartao.com or can be found on Facebook and Instagram @thedatingdaysofmartao. Keep in mind that dating after 40 is for the brave. |
Post by Arielle Haughee
Easily Find Agents and Publishers with Manuscript Wish List
A question we get frequently is, how can I find an agent/publisher for my book? There is an awesome *free* tool to help you not only find agents and editors, but learn the specifics of what they like and how to query them. This magical gadget is called Manuscript Wish List, and yes, it is completely free. No subscription required. Manuscript Wish List, or MSWL, acts as a search engine for agents and editors. Your quest has never been easier!
How To Use Manuscript Wish List
There are two ways to go about finding industry professionals on the site. The first and most basic way is to head over to the search box on the front page and type in whatever applies to your search, such as a genre, agency, agent name, publishing house, and so on. I typed in “picture book” and received a variety of results, including agent/editor names and resources.
If I wanted just a list of agents who are looking for picture books, I can do a Genre/Name search. This feature is under the tab titled “Find Agents + Editors.” See below.
If I wanted just a list of agents who are looking for picture books, I can do a Genre/Name search. This feature is under the tab titled “Find Agents + Editors.” See below.
After I make my selection and press search, a list of fifty-six agent profiles appears underneath the search area. I can click on any name to learn more about the agent and see how to query them.
Agent/Editor Profiles
The agent and editor profiles on Manuscript Wish List are a true gold mine. Not only do they tell you what genres the agent represents, but also go into detail about what specifically they are looking for, as well as what the person does not want. This helps you save time on someone who wouldn’t be interested in your work. One of my favorite parts is a sidebar with their favorite books, so you can get real insight into their literary tastes. And of course, every profile includes how to submit to the agent/editor, including links.
Take a look at Claire Draper’s MSWL profile. She is one of the agents who will be featured at the remote conference in October. She has specifics such as, “I want the next fairy tale picture book retelling but the main characters are disabled.” It’s also helpful to know what she does not want: “Don’t send me books with suicide ideation, eating disorders, or sexual assault.” After reading the profile, you get fantastic information that will help you decide if this person would be a good fit for your work and your career.
Take a look at Claire Draper’s MSWL profile. She is one of the agents who will be featured at the remote conference in October. She has specifics such as, “I want the next fairy tale picture book retelling but the main characters are disabled.” It’s also helpful to know what she does not want: “Don’t send me books with suicide ideation, eating disorders, or sexual assault.” After reading the profile, you get fantastic information that will help you decide if this person would be a good fit for your work and your career.
Manuscript Wish List on Twitter
Manuscript Wish List also has a huge presence on Twitter. Agents and editors use the hashtag #MSWL in tweets when they say what they are currently looking for in their query box. You can search the hashtag and find up-to-date information with specifics. I recommend following your favorite agents on Twitter if you don’t already, since that platform in particular is a place where industry professionals go to share news and updates.
For example, see these tweets from agent Jessica Felleman at the Jennifer Lyons Agency:
For example, see these tweets from agent Jessica Felleman at the Jennifer Lyons Agency:
Don’t Skip Their Blog!
Manuscript Wish List has a fantastic blog with a wide variety of information about the industry. From writing craft to submissions to workshops, there is a wealth of knowledge to dive into. Their most recent post, “Writing a Manuscript that Gets and Keeps Everyone’s Attention” with agent Linda Camacho links to a podcast where you can listen to the agent discuss what makes a manuscript stand out. Get information straight from the source!
As you can see, Manuscript Wish List is a wonderful tool to easily find the exact agents and editors who may be interested in your work. It’s a huge time saver with everything all in one place. You don’t have to Google for hours! I like to create a spreadsheet with names and turn-around times as I am working on my search. Then I mark the date when I query and if/when I hear back. It makes the querying process more organized. Best of luck in your querying and have fun learning more about industry folks on MSWL!
As you can see, Manuscript Wish List is a wonderful tool to easily find the exact agents and editors who may be interested in your work. It’s a huge time saver with everything all in one place. You don’t have to Google for hours! I like to create a spreadsheet with names and turn-around times as I am working on my search. Then I mark the date when I query and if/when I hear back. It makes the querying process more organized. Best of luck in your querying and have fun learning more about industry folks on MSWL!
| | Arielle Haughee (Hoy) is a seven-time RPLA-winning author, editor, speaker, and publisher. She is the owner of the small press Orange Blossom Publishing and was previously the Executive Vice President and Marketing Chair for the Florida Writers Association. She was honored with the President’s Award from FWA in 2020, and in 2021 Pling’s Party was awarded Children’s Book of the Year. She is also the recipient of a Purple Dragonfly Award for Piper and a Moonbeam Children’s Book Award for Sixth Sunday. She has a serious reading addiction, fantasy romance her absolute favorite, and loves nothing more than good conversation paired with a good wine. She is surrounded by males at home—a husband, two sons, and an energetic dog—and tries to integrate as much purple and flowers in the house as possible. |
Author
Arielle Haughee is the owner and founder of Orange Blossom Publishing.
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