The Responsibilities of an Author

In life, in business, and especially in publishing, it’s true that you’re only as good as your word.”  — John Quattrocchi

John Quattrocchi
President, Albert Whitman & Company

Every story should open with intrigue. I love openings that have a double entendre. 

This was the opening line in a public apology by AW&C to Joan He, who publicly shamed the indie publisher for reneging on their agreement. She felt it was her responsibility to put in a few words about the way her publisher had treated her. 

It’s good to speak up. When one speaks up, it opens up the floor to others who have been or are in the same situation. Look how the #metoo movement started and #BLM too. There’s also #publishingpaidme on Twitter that highlights the disparity of advances paid to white vs black authors. 

I have thought long and hard about writing this post for some time. 

Firstly, I needed the distance. 

Secondly, I needed to process what I have to say and to say it without sounding furious because I am so angry that it is ugly.

Thirdly, I also needed to make sure that I protect myself for what I am about to do: name and shame. 

In my short experience as a children’s book author, I have learnt so much about publishing and what it entails. I am grateful for the learning as always. I am also grateful for the opportunity to be published in this very subjective business. However, as grateful as I am, I am also burning with fury at the disrespect shown for my craft, the ignorance of some independent publishers about the global nature of the business, and not to mention the ingrained exploitation of folks, like me, in the creative sector. I speak only about Singapore, of course, because this has been my lived experience in publishing so far. 

My journey as a children’s book author started with this book. As you can see, it won an award, a rather prestigious one, at that, in the children’s book industry. I was darned proud as this was a recognition of the power of the story and its universal themes. What’s more, the story was set in Singapore but it was accessible to judges in America, which is a nod to the industry’s goal of publishing more diverse stories by diverse authors. 

And, what do you think the publisher, an independent, did?

I was asked, “What is the Moonbeam Children’s Book Award?”

I was told, “It is not the Singapore Literature Prize.” 

I was urged not to “harp” on my award because it is [allegedly] “controversial”. 

I don’t know what Moonbeam has to say about that allegation, and I won’t know until I tell them. I won’t because that’s not my raison d’être as a writer. 

I won’t say what I really thought about the Singapore Literature Prize, something I hadn’t heard of before living in Singapore. That is simply a reflection of my ignorance, of course, because it is rather a biggie in Singapore. 

Suffice it to say, the aforementioned publisher did very little to promote this award-winning book. But let’s start from the beginning, shall we? 

Open: A Boy’s Wayang Adventure was published sans contract. The first time I found out that the manuscript was published was when I was given a copy of the film edition of the book, which was shockingly unedited and still raw, at a press conference for the preview of The Wayang Kids, on which the book was adapted. Imagine my horror!

Well, like any person whose rights have been violated, I sought the assistance of a lawyer, who helped me with negotiating the terms of the contract, which the publisher was obliged to sign after weeks of fobbing me off. They felt harangued as I later learnt—there are only 3 degrees of separation in Singapore—and thought that I should not have involved a lawyer. Funny that they signed ASAP as soon as the lawyer called, won’t you say? 

This legal exercise cost me a little more than SGD$5,000, I’ll be transparent about it. Income from this book was in the region of less than SGD$1,500, of which SGD$700 I donated to a charity for the education of autistic children and adults. I bought at author’s discount at least 400 copies of the book, some to give away, and some to sell at author talks.

Open’s journey started with a caveat because this publisher based its working relationships on trust, as they told me. And here I was, thinking that a publishing relationship was based on a contract. How foolish of me. But one can’t blame this publisher because they had thought that a certain film producer, who submitted the manuscript to them on my behalf, was working in the capacity as my agent–the fobbing off was, according to the publisher, caused by a delay on the “agent’s” part. Nobody thought to ask me, the author. And, if you’re wondering, agents don’t quite exist in Singapore, unlike in America and the UK, Singapore is too immature a publishing market for agents to work in. I am in no way saying they won’t one day exist. But just not now. 

Since all the palaver, you will be glad to know, I have taken back the rights of this book. I am now free to submit it to other publishers who would have the eye to see the value of this story. Its universal themes, and a story that interweaves some historical information about the Chinese Opera, may pique the attention of a publisher in the USA or England. Who knows? Right now BIPOC and BAME hashtags are all the rage. Take this publisher for example. 

The success of Open opened more doors [pardon the pun]. This led to my debut picture book The Boy Who Talks In Bits and Bobs. I was literally approached by the publisher, another indie. They were seeking to expand on their trade books “based on good values” and thought I was a good person to write for them. After some discussion, I signed a contract for a book deal with a clause that gives this publisher “first right of refusal” on subsequent titles with a similar theme. 

The Boy was illustrated by Debasmita Dasgupta, who was paid a fee, and published in 2019. It has had raving reviews, was nominated for a Readers’ Choice Award in Singapore, and has sold at least SGD$400 royalty worth of the first print run, so the accounts statement tells me. I had to demand for this statement, BTW. But guess what? It’s 2020 and almost Christmas, AND I still haven’t been paid. 

Similarly, I am still waiting for the rest of my advance payment for the second book in the series, Sahara’s Special Senses, published right before the pandemic hit our shores. Remember the “first right of refusal” clause? Well, I kept to my side of the bargain. The contract says that I will be paid when the book is launched. Well, it was launched at the beginning of 2020. Looks like somebody has not kept to their side of the bargain. Meanwhile, publishers in India and America have shown interest in negotiating the rights for Sahara to be published in their respective countries. As equal collaborators of this picture book, Debasmita and I have approached our publisher [who shalt not be named] to work with these international publishers. And, you’ve got it—no response. 

I have written umpteenth emails gently reminding said publisher of payments due. The last one was sent on Friday the 13th, November. Thought I would flip this unlucky day to make me a small fortune. Here’s what my email said:

Dear All,

I hope you’re all well. Singapore is now the best place on earth in terms of living with the pandemic. Congratulations!

I trust that you’ve all had time to settle back into work.

I’m emailing again to remind Armour of the payments owed to me in terms of:

  1. second tranche of advance for Sahara’s Special Senses;
  2. royalties for The Boy Who Talks in Bits and Bobs. 

I would appreciate it if you can acknowledge this email and make payments immediately. 

— 

Warmly,

Eva Wong Nava — Children’s Book Author”

Well, needless to say that people who live cowardly lives tend to keep mum for the shame of knowing that what they’re doing is simply not on. These are also the same kinds of people who have a ‘higher than thou’ attitude in terms of moral standards. 

I am beginning to sound angry now. So, I must stop. All rant and done, I need you to understand that the publishing industry does not function this way as a matter of conduct. For example, I was paid on time for this book, and since its publication, have had no issues with the way the marketing, promotion and distribution of the picture book has been handled. 

I felt respected and valued by this publisher who aims to look after the needs of their authors, as the managing editor told me. Alright, they are one of the big-5s. But it’s good to note that they are also a small company under the umbrella of the mothership, and have their own (slightly smaller) budgets to negotiate. 

Publishing is a human relations business. It behoves the house to treat their authors and creatives well. At the end of the day, they’re in business because of authors and illustrators who put energy into their craft so that book lovers can continue to enjoy quality literature. 

I have chosen to enter this very challenging and competitive profession because I want to make a difference; I want to write books that not only entertain but also educate. This was the same reason for my entering teaching. I won’t be didactic because that’s not my point. But I will open up conversations to improve the situation so that others that come after me have a better time of it. 

Authoring is a vocation like teaching. It is a pursuit of exchanging information and knowledge through words. As authors, we have the responsibility to look after our needs and those of our colleagues. We have the responsibility to speak up against injustice, not just within the publishing industry. Putting ourselves out there is placing ourselves in a vulnerable position. That’s a position that every author knows only too well. But, our greatest responsibility as authors is telling stories that are accessible and honest. 

I take courage from Philip Pullman who has always spoken up about the craft of writing and the unique responsibilities of authors. 

The first responsibility to talk about is a social and financial one: the sort of responsibility we share with many other citizens—the need to look after our families and those who depend on us.” 

Philiip Pullman, ‘Magic Carpets’ in Daemon Voices. 

When Flash Meets PB

Both Flash and PB are characters in my backstory. 

Let me first introduce you to Flash. Flash is alluring, cryptic, and enticing. She hates waffle. Her entreaties are brief—she just wants to be understood in as little words as possible. You have to fill in the blanks because Flash believes that meaning is created through individual lenses, lived experiences, and backgrounds. 

Now, let me introduce you to PB. It was Flash who introduced me to PB, I’ll give her credit. PB loves happy endings, onomatopoeia, and a child-like people. She loves personification and has a big imagination. PB also doesn’t like to waffle and she is a great storyteller, like Flash. Both Flash and PB have so many things in common. No wonder they’re best friends.

But Flash and PB speak to different people.

Curious?

‘Turning Your Short Stories into Picture Book Stories’ is a new workshop and mentoring opportunity to help writers turn their stories of under 1,000 words into stories suitable for a readership of 4-8 year olds. 

Click this link to find out more and how to register.

I am especially keen to work with writers who identify BAME or BESEA (British East and Southeast Asian). Of course all are welcome because Flash, PB, and I believe in being inclusive. 

Here’s where to contact me if you’re interested: enquiries@evawongnava.com.

Writing Believable Characters

If you’re tired of hearing that your character must be believable, I don’t blame you. I’m tired of reading it, too, in ALL the writing blogs I read on how to write believable characters. So, I’ll spare you what you already know and talk about why credibility is important. 

What makes people want to read your story is character-driven. I know that there are people who love plot-driven stories. But this is the picture book we’re talking about. 

Who is a believable character is character-driven. 

What makes people love your character is character-driven. 

Take MRS ARMITAGE ON WHEELS, by Quentin Blake, for example. Don’t you just love her? She’s an old-er lady, for goodness sake; hardly a child at all. But just look at her, just watch how she behaves, and you’ve fallen in love hook, line and sinker. Mrs Armitage didn’t set out to deceive you. No! No! She set out to capture your heart. 

1. Believable characters have flaws. They’re not perfect. Mrs Armitage is a flawed character. She is socially dysfunctional—just look at the loud horns she’s fixed to her bicycle and then tooting away like there’s no tomorrow. Only a child would do that. 

2. Believable characters aren’t flat. Mrs Armitage is immensely complex. Look, she is an old-er woman who thinks she can do all the things children can do: build a dog seat for her dog, Breakspear, for example. And, that name alone is only one that a child would think up. A dog named Breakspear. What was she thinking? And, her imagination is just explosive. Literally. All children can relate to that.

3. Believable characters have quirks and eccentricities that make them memorable. Mrs Armitage is just one cray-cray old-er woman. But wouldn’t you just love to hate her? She can roller skate like an energetic child on speed. And, boy, do children love whizzing about, zip-zapping here and there on wheels. Every child can relate to being speed devils at some point in their lives.

Mrs Armitage, although an adult, is what every child relates to immediately. If I’ve said it once, I’ve said it a million times: it’s ok to make your picture book character an adult, but this adult must be someone a child can relate to. This is how you can make your character believable–Mrs Armitage’s behaviour is consistent throughout this hilarious picture book:

  • She has the innocence of an angel. She smiles while tooting her loud horn. Naughty!! 
  • She is obsessed with minute details: a seat for Breakspear; a basket to carry food and treats [all kids know that inventing and creating makes them hungry and it’s best to feed them before they get hangry + hot coco—yums], umbrellas for when it rains. There is a thing for everything. Imaginative!!
  • She is terribly rebellious. I mean just listen to the racket she makes while on her wheels. Unconventional!!

These are three very important reasons why credibility is crucial when you’re planning your character. Jot all these characteristics down in your character profile logbook. And build your character up from there. 

Writing Believable Biographies

Is there a difference between a real character and a made up one? That’s a great question.

When we work on biographies, we are dealing essentially with character; believable characters at that. 

A good biography is character-driven. Who is the subject and why are they worth reading about? 

A good biography is also plot-driven. A writer must balance the two well. 

A biography is essentially a window into the world of the character. All the elements that make characters believable apply just as well when writing picture book biographies. 

Take Tun Siti Hasmah, for example. She was a child before she became a doctor. So, the story started when she was a young girl. It charts her childhood when she played with her brothers—carefree, mischievously. 

  • She has desires like any child. 
  • She faced obstacles, like any child. She found ways to work out her problems, like any child. 
  • And, she has quirks like any child—catching labah-labah? That has got to catch any child’s attention. 

Unlike in Blake’s Mrs Armitage, which is not a biography, in The Accidental Doctor, we watch Hasmah grow up. War struck when she was a teenager causing pain and anguish. War popped her bubble and her dream of becoming a journalist got dashed. She almost failed at medical school. 

All these trials and tribulations that the character, Siti Hasmah, faces in this biographical story make her a believable character. What’s more—she’s a real person. 

The one major difference to note between Mrs Armitage and Siti Hasmah is in the execution of the story. Blake’s has a comical voice while mine is serious. 

The subject of the story is character-driven, after all. And although Tun Siti is a funny woman herself, her story requires a serious voice. 

Anyone can write a picture book biography. If you’ve always wanted to write one, read this blog post for more information.

If you’re itching to get a copy of Tun Dr Siti Hasmah Mohd Ali: The Accidental Doctor, it’s available here. If you live in Singapore, Malaysia and/or Southeast Asia, get your copy here. In America, it’s here

For teachers, I can visit your school virtually to talk to your students about reading picture book biographies. I can send you an activity pack for The Accidental Doctor ahead of time. Please contact me for more details.

It doesn’t matter how old you are when reading picture books because picture book stories are still stories. I read picture book biographies to find out more about other people. It’s a great way to start reading up about other people. Here are a few people you can read up on. This one made me cry. This one inspired me to use my words to affect changes. This one resonated with me because it’s about moving countries and finding roots.

Picture Book Matters

For those interested in creating picture books about and of real characters, Picture Book Matters can walk you through the process. Contact them here for more information.

Writing About Other People

I love reading biographies, don’t you? A biography allows us a small window into the minutiae of someone’s life. Why only a small window? Well, if you think about it, life is short but the journey is long. I know this may be an oxymoron but I’ve given this phrase a lot of thought for many years now. 

When reading someone’s biography or autobiography, we’re not reading everything about that person; only those things that the person wants to share or those things that you, the author, feel are important to share. And, a book must come to an end some time. It could be 320 pages long or 32 pages short. So, the writer must choose the bits to put in that would keep the reader turning the pages. 

As biographies go, there are those endorsed by the subject and those that the subject refuses to acknowledge, they may even shun the book. Not all biographies are written with permission. 

This is similar for children’s picture books. 

But first, the writer needs to know that permission is not necessary to write about someone. Second, anyone can write about the same subject/ person. There is no such thing as someone copying your idea for a biography. Just look at how many Frida Kahlo picture books there are or picture books about Malala Yousafzai. Third, even if you want to write about a particular person, the publisher may not think that this person is worth their publishing budget. This could be for many reasons and here are three: the subject is controversial, like Aung Saan Su Kyi, for example; the person is too obscure—who would want to read about them?; the market is already saturated with bios of the subject. Repetition may be good for children but too much of one thing is never good.

Who To Choose Then?

There is a parade of people we can write about. So, choosing the right one can be challenging. 

First, write about someone you want to read about—this person may be well known but not famous. Second, do your research—are there books out there about them? In your case as a picture book author: are there picture books about your subject? Third, pick a theme—why are you writing about them? 

How Did I Come Up With The Idea of Writing About Asian Women for Children? 

I had the idea of writing about Asian women for a very long time. This idea germinated in Paris when I was living there. I was the Chair of Memberhship for a society called the Asian Women’s Association in Paris (AWAP). This was the brainchild of a few Asian women, friends of mine, who were interested in starting a community for Asian women living in Paris. The group was made up of Asian women from all over the world. They were a global  diaspora of women who could trace their roots back to East Asia and Southeast Asia. And, many were leaders in their fields and doing wonderful things while juggling motherhood and a career. 

Having the opportunity to meet and speak to some of AWAP’s members made me think about the Asian women whom I wanted to know who have shaped Asia in so many ways. But as life goes, I was a mother of two—one toddler and the other a teen—juggling learning a new language—Oui, Je parle français—and navigating an expat life in the City of Light. I was too mesmerised by Paris—it’s Paris!!—to think about writing about other women’s lives. I concentrated on writing about my life instead—how selfish, non? So, I started a blog writing about what I know and love best—food, Asian food—which took me down a rabbit hole searching for veritable Asian grub, which took me down another warren looking for female chefs, particularly Asian ones. That blog turned into a memoir of sorts and helped me cope with major homesickness for Asia. And, before I knew it, I found myself in Singapore. The blog is now on a hiatus. 

Navigating Singapore became the next step in my expat journey. In Singapore, I was both an insider and outsider. I sought books for my then 6.5 year old with Asian themes, on Asian heroines and Asian aesthetics. Books that I wished I’d read when I was a child. Books that made me look up to women for leadership. I was disappointed to find none of the latter, and the few I found that ticked the boxes on themes and aesthetics were copies or pastiches of western children’s books like ‘The Diary of Adrian Mole’, ‘Katie’s museum adventures’, or stories written through a western lens. [These are books written in English.] 

There was nothing on Asian women. No biographies that I could show my young daughter that reflected the wonderful achievements by Asian women, and we have so many great women too. But at the same time, I found many written and published in America.

As Toni Morrison once said, “If there’s a book that you want to read, but it hasn’t been written yet, then you must write it.”

And Maya Angelou reinforced it when she wrote, “There is no greater agony than bearing an untold story inside you.” 

And so, I found myself proposing a 6-book series to publishers on Asian Sheroes. [I was pretty gung ho about it too as at that point, I only knew I wanted to write about 6 Asian women, but did not know who yet.]

It was a hard sell, to tell the truth. Asian Sheroes? Who are they? Why would American and British children want to read about them when they have nothing to do with “us”? 

I worked alone for some time researching and finding out who I can write about. I sent out feelers and got some great answers back. The problem is in the lack of information (more on that in another post) about many of these women. I even thought of self publishing at one point.

Working alone is fine and fun but as life is short and the journey is long, I wanted to share this journey with people I love. So, I roped in two sheroes: June Ho and Debasmita Dasgupta. We discussed it and furnished a proposal and sent it out, closer to home.

World Scientific Publishing who was in the midst, unbeknownst to us, of starting a new imprint, World Scientific Education, acquired the series on proposal. 

The Birth of A Series

Meetings were held. At that time, we could still meet face-to-face. And names were proposed. And that was how Tun Dr Siti Hasmah Mohd Ali: The Accidental Doctor was born.

Did I follow my own rules on writing about lesser-known but known-enough Asian women? Did I write a book that I wanted to read because there is none out there? Did I condense a long journey into a short book of 32 pages? 

I would say, yes. WE did it because the creation of ‘Women Who Shaped Asia’ takes a team. The creation of sheroes takes a family. 

And just like this, the seed that I germinated in Paris grew into a plant that now needs constant watering and feeding. It won’t eat you, I promise. But it’ll feed you and your kids with knowledge and pride of the women who shaped Asia. 

Tun Dr Siti Hasmah Mohd Ali: The Accidental Doctor is available here. If you live in Singapore, Malaysia and/or Southeast Asia, get your copy here. In America, it’s here

Twitter Pitch Parties anyone? What happens when you have the jitters and the twitches?

I just took part in my second Twitter Pitch yesterday, folks. Seriously this time. It was #DVpit. This is for agents and editors looking for diverse manuscripts or stories written by people who identify #POC [#BAME in the UK]. It is serious business. So, I took it seriously this second time round. It’s not to say that I wasn’t serious when I took part the first time round. I was dead serious then. I just didn’t understand the rules the first time round. I seriously have a problem when there are too many rules. And I have a problem when they say [TL:DR]:

“How many times can I pitch?

Each USER is allowed UP TO 6 #DVpit pitches per project, which cannot be tweeted more than once per hour regardless. You don’t need to use all 6 opportunities. If you have 4 good pitches, that’s fine. If you only want to send out 1 pitch—also fine. We recognize that this is confusing, so here are some examples:

ex1. You have 1 project to pitch. Options: you could pitch once every other hour over the whole 12-hr period; OR pitch once per hour over 3 hours in the morning, and once each hour for 3 hours in the afternoon. There will be 6 of the 12 hours during which you cannot pitch in #DVpit at all.

ex2. You have 2 #DVpit projects, up to 6 pitches for each. You could alternate pitches for them each hour; OR pitch 1 project over 6 hours in the morning, and the other over 6 hours in the afternoon. In either case, you pitch ONCE per hour, using up to the maximum 6 per project over the 12hr event.

ex3. Let’s say you have 3 #DVpit projects. You can only pitch once per hour, so you have to divvy up those 12 opportunities to your projects. Options: you could do 6 for project A + 3 each for projects B & C; OR 4 each; OR 2 for project A, 4 for project B, and 6 for project C.

Just remember that your twitter account cannot pitch into the #DVpit feed more than once per hour. Which project you choose each hour is up to you, as long as no single project exceeds 6. This is to keep the feed less cluttered and more fair.”

I read all the rules and I read this particular one a few times. And I realised that I’d failed elementary school maths and can’t do the sums. So, how many times can I twitch, I mean pitch twitch? Or was it tweet pitch? How many times again? Please bear with me on this. Maths whizzes know it’s easy. But if you’ve lived with numerophobia all your life, it’s hard when you read a rule with such intense and focused numerical sense that don’t make sense to you.

Anyhooo, I asked a bunch of very helpful friends in my writing community who had participated in twitter pitch conferences before and they told me “6 x per MS and at 1 hour intervals only”. That explained it. 

So I sent my pitches into the twitching tweeting universe. 

I had two. That is two manuscripts. So I spaced them out between the hours of 8 am – 8 pm EST, which is Eastern Standard Time. That just means 8 in the morning to 8 in the evening New York time. 

But first, what is a twitter pitch conference? 

  • It all started with #PitMad. This was the original twitter pitch event or conference for unpublished manuscripts and writers who are unagented or agented. 
  • The event happens every quarterly according to a schedule based on EDT (Eastern Daylight Time)/ Spring-Summer or EST (Eastern Standard Time)/ Autumn-Winter.
  • Hashtags are used to denote different categories: #DVpit for Diversity Pitch #PBPitch for Picture Book Pitch #CB for Children’s Books, etc., etc. There is now a #BVM hashtag for Black Writers and Illustrators. [YAY] 

If you’re a children’s book writer like me, you’d want to look out for #PBPitch which is open to all picture book writers 3 times a year: February, June, and October. The next one is on October 29th, Thursday from 8 am to 8 pm EST. 

Here are the rules.

If you’re a person of colour or someone from a marginalised or under-represented community, you’d want to look out for #DVpit. I took part in #DVpit because I identify #BAME or #POC. DVPit is open to ALL diverse creators or writers, working on ALL genres writing for children, YA or adult. Do look out for the dates as there are two days for different genres and age groups, and for writers and illustrators. 

Here are the rules.

I made a couple of boo-boos, like retweeting someone’s tweet with a comment because someone had done that for me and I wanted to pay back in kind. Apparently, participants are not allowed to retweet. You can comment inside their tweet but not retweet with a comment. That was where I misunderstood. Only editors can retweet. These are editors who like your pitch but will only work with agented authors, so I was told. 

You definitely cannot like or heart ❤ a tweet cos that is the reserve of agents or editors. You’re meant to reply sans hashtags if you want to show support; see above about not retweeting.

Well, I’m learning along the way, as they say. 

I don’t know about you but Twitter gives me the jitters, to be honest. There are some real serious trolls out there waiting to get ya. But thankfully, people just laughed my boos-boos off. And, frankly, nobody has the energy to tell you off, cos at the end of it, you’re meant to know what to…read the rules, and don’t be so zealous like me in wanting to boost other people’s tweets. 

What came out of all this, you ask. The good news is that I got a genuine like or <3. Why genuine? It was a like from an editor, who then asked to read my manuscript. How did I know that? I went to find out who ❤ my twitch and that’s that. And I scrolled down her tweets where she said that “if I like your pitch, it means I’m interested to read your manscript. Please DM me.” 

I wouldn’t go private messaging the editor/ agent if they had not tweeted for the author to do that. I’d just go check out their website for submission guidelines and type in DVpit in the subject line. Nobody likes being stalked, editors and agents no less.

So I sent my manuscript to this editor after I’d DM-ed her to ask how I can submit, and she has confirmed receipt of it. So, you see, this was how serious I was about taking part in #DVpit, and because I was serious, the Universe sent out positive vibes, unlike the first time when I took part. So, don’t make the mistake I did the first time round—join in for the fun of it. I’m not saying you mustn’t have fun. Because FUN + PASSION = ENJOYMENT.

#DVpit is now over and I can’t wait to take part in the next one cos the fun of it all is in composing the tweets in 280 characters. It’s an exercise in precision and concision

Here was what I’d tweeted and pitched for one story. 

When a little girl longs for her grandma’s dumplings, but her grandma can no longer cook, she discovers that faith and love are enduring. This 389-word #PB explores the relationship between an unnamed protagonist and their grandma.  #DVPit #OWN [this one got me a like but I’ve decided not to pursue this like for personal reasons.]

Like a Tai Chi dance, an unnamed protagonist must grapple with her grandma’s fading breath. DANCING DUMPLINGS FOR MY ONE AND ONLY, a 389-word story that charts the relationship between a child and their grandma rises and falls with each breath. #DVpit #poc #own

You’ve got it! 

Good luck! 

credit: PB Pitch Website