 By Stephanie Bearce
Are you an author trying to get your manuscript published? You've done everything right - revised, rewritten, sent it through critiques groups. Everyone agrees, your story is ready to go! So how do you get your book published? Should you start the agent search? Look for publishers? Start on a new project? My advice is all of the above. Whenever I finish one project, I immediately start on a new one. Career writers know that you can't depend on every manuscript getting published. You need to keep generating new material. Plus, both agents and editors like to know what else you have in your files! If you are at the point where you have a finished novel, or a couple of full nonfiction proposals for MG/YA, or three to four perfected picture books, then you are ready for the agent search. But the reality is - finding an agent takes a lot of work and TIME. And sometimes, especially when writing nonfiction, your project can be time sensitive. You need to get it in front of an editor as soon as possible. In this case you may want to submit directly to open publishers. I have an amazing agent and I am grateful to be her client. But before I signed with my agent, I sold 28 books on my own. (and this wasn't a hundred years ago) It is possible to sell your work directly to editors. You may find that getting an offer on your manuscript will even help you find an agent! Submitting to publishers yourself is definitely something to consider for unagented authors. I have done the research for you and located publishing houses open to submissions. I've even given you the links to their submission guidelines. Your mission - should you choose to accept it - is to find the publisher that is looking for your type of manuscript. Researching the publisher is just as important as researching for the perfect agent. I would love to answer questions you may have. Put them in the comment section ans I will do my best to give helpful answers. I wish you publishing success! Children’s Book Publishers Open for Submissions Albert Whitman https://www.albertwhitman.com/submission-guidelines-for-unrepresented-authors/ Allen and Unwin https://www.allenandunwin.com/about-allen-and-unwin/submission-guidelines Andrews McMeel https://publishing.andrewsmcmeel.com/submissions/ Annick Press https://www.annickpress.com/Submission-Guidelines Arbordale https://www.arbordalepublishing.com/Submissions.htm August House https://www.augusthouse.com/submissions-guidelines Beyond Words Press https://beyondword.com/pages/manuscript-submissions Cider Mill Press https://www.cidermillpress.com/pages/submissions Charlesbridge https://www.charlesbridge.com/pages/submissions Chicago Review Press https://www.chicagoreviewpress.com/information-for-authors--amp--agents-pages-100.php Chronicle Books https://www.chroniclebooks.com/pages/submissions Dover Publications https://www.doverpublications.com/faq/contacting-dover#EDITSUB Eerdmans https://www.eerdmans.com/Pages/About/Submission-Guidelines.aspx Entangled Publishing https://entangledpublishing.com/submission-information Feldheim https://www.feldheim.com/submissions Flashlight Press http://flashlightpress.com/submission-guidelines/ Fly Away Books https://www.flyawaybooks.com/submissions Flying Eye Books https://flyingeyebooks.com/flying-eye/submissions/ Freespirit https://www.freespirit.com/Submission-Guidelines# Gibbs Smith https://www.gibbs-smith.com/submissions Hachai https://www.hachai.com/guidlines/ Hogs Back Books http://www.hogsbackbooks.com/HBB/pages/About-us.html Holiday House https://holidayhouse.com/faqs/ Immedium http://www.immedium.com/contactus/submissions.html Judaica Press https://www.judaicapress.com/pages/submissions Just Us Books https://justusbooks.com/pages/resource-center/submission-guidelines.html Kar-Ben https://www.karben.com/submissions Kids Can Press https://www.kidscanpress.com/writers Laurence King https://www.laurenceking.com/getting-published/ Lee and Low https://www.leeandlow.com/writers-illustrators/writing-guidelines Levine Querido https://www.levinequerido.com/submissions Lion Hudson https://www.lionhudson.com/authors-and-illustrators/prospective-authors Magination Press https://maginationpress.apabooks.org/?page_id=15 Mighty Media Press http://www.mightymediapress.com/submissions.html New Frontier Books https://www.newfrontier.com.au/submission-guidelines No Brow https://nobrow.net/flying-eye/submissions/?from=fe Pants on Fire Press https://pantsonfirepress.com/submissions Page Street Publishing https://www.pagestreetpublishing.com/submission-guidelines Pelican Publishing https://www.arcadiapublishing.com/ContactUs/MakeMeAnAuthor Penny Candy Books https://www.pennycandybooks.com/submit Phaidon https://www.phaidon.com/about-phaidon/submitting-a-book-proposal/ Quarto https://www.quartoknows.com/staticpages/getintouch/submissionguidelines.aspx Salaam Reads https://salaamreads.com/ Sky Pony Press https://www.skyhorsepublishing.com/sky-pony-press/submissions/ Sterling https://dhjhkxawhe8q4.cloudfront.net/sterling-wp/wp-content/uploads/2020/12/11161557/AuthorGuidelines_new.pdf Tanglewood Publishing https://www.tanglewoodbooks.com/submissions/ Thames and Hudson https://thamesandhudson.com/page/getting-published Tilbury House https://www.tilburyhouse.com/submissions Workman https://www.workman.com/work-with-us/author-submissions#1
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 By Wendy Hinote Lanier
Being part of the publishing world is a lot of fun. But it’s also a bit confusing at times. And frustrating. And overwhelming. And ever changing. Did I mention confusing? When I first started writing for publication, things were simpler. There was no such thing as platform. The internet was a handy tool for research but not much else. Publishing houses had publicity departments that had actual budgets for each book. And each book was judged (at least in part) on its own merits—and not always on how well your last book had done. And then things changed. A lot. Suddenly writers were expected to develop something called “platform” and be active in promoting their own books. We had to learn how to use Facebook and Instagram and Twitter and Pinterest and other social media tools to get the word out about new titles. We learned to make videos and create mailing lists. And for the first time we became concerned about something called “followers.” Some of us gave up. Some of us are still treading water just trying to get a handle on things we don’t understand. (That would be me.) Some of us learned how to use at least one of these tools really well. And some of us figured out pretty quickly we couldn’t do it all and just hired a teenager. Some of us wish we COULD hire a teenager. And we ALL learned that just because you can write doesn’t necessarily mean you can navigate this platform thing—at least not alone. We’ve talked about the value of a critique group before. Today we’re talking about the value of tribe. Your tribe is larger than your critique group. Your tribe includes your fellow authors. There’s power in tribe. Even though the publishing industry demands it, we can’t possibly know all the tricks for promoting books and developing platform. In many ways, developing platform is completely contrary to the typical writer personality. But what we CAN do is learn to pool our resources and help out our fellow writers. Here are a few ideas on how we can do that.
 By Pat Miller
Have you had the experience of pouring your efforts into a nonfiction project, only to read about a contract offered on a similar project in Publisher’s Weekly? Do you have to abandon your project? Does every writer need to come up with a unique subject? How does one do that? The answer is no, you don’t have to be the first to write on your subject, but you do have to be different. For example, my public library has 122 juvenile titles about sharks. You’d think that was more than enough for the most avid shark lover. But last month, I made a surprising discovery in the new book section. There were FOUR new shark titles, all published in the last few months. And there were two copies of each! So why would a publisher say yes to another shark book? Why would a librarian buy multiple duplicate titles from her tight budget? Because the topic is popular and each of these four books had a unique viewpoint. Here’s what I noticed about each that might have made an acquiring editor say “YES!” Could your work benefit from a closer look? I Am the Shark. by Joan Holub, illustrated by Laurie Keller. Crown Books for Young Readers, 2021. Who knew sharks could be funny? They are in the hands of Holub and Keller. Great White Shark brags that he is the greatest shark in the book. Before each subsequent page turn, a speech bubble says “No, you’re not.” Kids can guess what shark will be next and why. As the sharks argue, they share key shark facts with readers. This narrative nonfiction is not useful for report-writing, but is definitely a gateway book to the world of sharks and their cool abilities. Everything Awesome About Sharks and Other Underwater Creatures by Mike Lowery. Orchard Books, 2021. Unlike the previous title, this book was not intended to be read cover to cover. Mike Lowery starts his book with a note to readers explaining that his book is “totally loaded with info, weird facts, and jokes that will keep you hooked.” It is packed with labeled line drawings, fact boxes, and a breezy format that invites readers to skim and dip in. This is the type of book Melissa Stewart calls browseable nonfiction. At 124 pages, this book will keep even the most knowledgeable shark lover engaged. The Shark Book by Steve Jenkins, illustrated by Robin Page. Houghton Mifflin Harcourt, 2021. This is another browseable nonfiction, though it has much less text, more white space, and colored illustrations. The facts are intriguing. Throughout the book, a silhouette of a man is shown next to each shark mentioned to give perspective. It ends with a comparison of how many unprovoked fatal shark attacks there are annually (seven) and which sharks are nearly extinct due to human interference. A last chart names each shark in the book with its conservation status, whether it’s dangerous to humans, and where it lives. Steve and Robin show what amazing animals sharks and make the case for protecting them. Are You Smarter Than a Shark? by David George Gordon, illustrated by Josh Lynch. Quarto Publishing, 2021. The title and humorous cover design are irresistible. Along with interesting facts about shark intelligence are shark illustrations spouting puns – Seal to shark: “How did you ever get so smart?” Shark: I grew up in a school.” But more than just a compendium of facts, this book has numerous simple experiments students can do to understand shark senses and how they think. Experimenting with tapping in the bathtub illustrates how sound travels in and is magnified by water. It, too, ends with a plea for shark conservation, stating that more people are killed each year by falling coconuts than by shark attacks. Each of these books takes a different approach to the same subject. Several use humor and conversation bubbles, all use sidebars or labeled illustrations. The content is detailed and interesting, and the author talks to kids like they are young scientists. These are qualities that appeal to readers, publishers, and librarians. Does your current NF project have any of these qualities? By Pat Miller Last week 5 of us shared photos of our writing buddies; pets we rely on for a cuddle, a laugh, and to keep us on track. Now, meet the rest of our furry friends. LINDA SKEERS also has a Jack on her team. Her Jack is a busy cat. Linda writes, “Jack loves to ‘help’ me Zoom by leaning over the computer and swishing his whiskers across the screen. He also helps me organize piles of research by pushing them off the table and spreading them across the floor. I guess he wants me to look for new connections, or get the bigger picture. I bounce ideas off Jack. Purring means he likes the idea, licking his butt means I should move on.”  WENDY LANIER’s four-footed support group consists of a Jack Russell mix named Piper and a dachshund/yorkie mix named Penny. Both know when to let Wendy work and when to get her up and out for some healthy exercise and lots of cuddles. When the garbage truck comes, Piper and Penny are determined to come between that noisy threat and their writer. So far their talented barking has kept the trucks out of Wendy’s writing room.  As an agent and author, LISA AMSTUTZ spends a lot of time on the computer answering email. Bailey, her 3-month old Great Pyrenees puppy lures Lisa away from the keyboard with sheer cuteness. That and her efforts at potty training. One day this cute dog will be splitting her duties between being Lisa’s best writing partner and protecting her family’s chickens.  All these authors report that their best friends work for kibble, are always available, and are never critical. They don’t care about word count or submissions, nor do they judge based on research efforts or vivid language. They love without reserve and think their people are perfect writers! And that goes a long way in this writing business!
How about you? Share a photo of the pet that keeps you on “the write track”. by Pat Miller Who is a writer’s very best friend? Not an agent, though they can be very helpful. Not a critique group, though they provide much support. For any of us, a writer’ best friend is their pet(s). I checked with the Nonfiction Ninjas to see if any of them count on a dog or cat to help them with their writing. Here are the animals they depend on. SUSIE KRALOVANSKY has a three-pet team. Maddie, a standard poodle, tested one of the toys for We Really, Really Want a Dog. Maddie gave it 4-paws up, so the toy went into the book. Sox is an artist at heart. Here she is preparing to inspect the illustrations for one of Susie’s books. Finally, Lynx claims the keyboard when she feels Susie needs a break. Two cats have befriended MICHELLE MEDLOCK ADAMS. Theirs is a well-organized tag team. Mia has taken on the job of watching over Michelle, making sure she is hydrated and gets enough computer breaks. Michelle doesn’t need spellcheck when she has the sharp eyes of Motley, her personal catcheck. Both stay within petting distance to help Michelle focus or relax.   NANCY CHURNIN also has a feline who watches over both her and her writing with sphinxlike concentration. Aptly named, Gloria Swanson is a star in her own mind who thinks it is a CATastrophe that Nancy hasn’t written about her yet. But she’s also a kind cat. In the most frustrating of writing situations, Gloria reminds Nancy about what really matters—cuddles and treats!  PEGGY THOMAS’s pets report that she requires a lot of assistance. So they have divided up her care. Grace is an over-the-shoulder editor who not only supplies inspiration, but her body warmth is like a shoulder massage, keeping Peggy relaxed. Her comrade in orange fur was more of a paws-on kind of pet. No keystroke went unnoticed by Leo, who died last year. He felt like furry handcuffs, but kept Peggy on task. Peggy mentioned that Lily is a golden retriever and Bertie is an All-American knucklehead. Both remind her that there is more to life than writing. They break up her writing time by taking her outside to play. PAT MILLER’s rescue dachshund-mixes team up to do two important jobs in her writing process. Pat writes next to a bay window that faces the front sidewalk, so Pepper and Jack are always alert for any distractions which may take her away from her writing. Second, they keep an eye on Pat in case she needs a warm lap dog, or some sloppy face licks to kickstart her thoughts. Pepper and Jack love to hear Pat read her drafts aloud.   Check back next week to meet Lisa Amstutz's 3-month old Great Pyrenees puppy, Linda Skeers' photo-bombing cat Jack, and more furry writing assistants. And share a photo of your pet. Who keeps you on "the writing track?"
Look at any author’s desk and you are likely to see inspirational notes or items nearby. That includes the Nonfiction Ninjas. Here they share their treasures: PAT MILLER – I have two items. One is a plain river rock, smoothed by eons of water, that has been painted by a Vietnamese villager. It is covered with a layer of paint, sanded, another layer of paint, sanded, until a final design is painted. Even this final work is carefully sanded and then shellacked, going from nondescript to work of art. It reminds me to treat my revisions the same way. The second is a sign that hangs above the window by my desk.
 CHRISTINE LIU PERKINS creates an inspiration board for each manuscript that she is working on. It contains photos of people, things, and places in her work, and also things that simply inspire her.  LINDA SKEERS shares:” Years ago I started writing for magazines and dreamed of being a ‘real writer’ who would one day write a book for children. My family and friends thought it was a ‘cute hobby’ but they didn't take me seriously. The only person that believed in me was my husband Bob. One Christmas morning I opened this present -- it's a retro Nabisco tin. (I had a collection of tins) But it was so much more than that. Inside were fancy embossed business cards that said Linda S. Skeers WRITER. Best. Present. Ever.  NANCY CHURNIN keeps this note close to her desk to make her laugh and remind her of the audience that will read, and comment on, her books.  SUSIE KRALOVANSKY’s family is her biggest fan club. Near her desk is the poster her Mom saved from Susie’s first book signing. The quote from Dr. Seuss was put together by her son and daughter. And the exuberant pig sign was made by Susie (an author/illustrator) to remind herself to keep moving forward.  STEPHANIE BEARCE received the same flying pig quote, but hers is a gift from her children. Their love and support and her husband’s are what helped her create all the books on this shelf. Her SCBWI Crystal Kite award also reminds her to do her best writing for kids. PEGGY THOMAS keeps photos of her parents on her desk. Her mother, Margery Facklam, was also a writer. Here she is doing research with Kermit, one of the chimps at the Primate Cognition Center at Ohio State for her book What Does the Crow Know? It reminds Peggy not to give up. Most of her mother’s books were written after she was 60. This quote was written by her father and tacked on his bulletin board. Now it stands on Peggy’s desk. WENDY HINOTE LANIER shares: “On my desk are several inspirational scriptures and a shadow box with memories of my Aunt Bea. She never had children of her own, but she encouraged me and prayed for me often. There's also a little frog noise maker. When I'm frustrated or stumped I sometimes stop to make frog noises! “ What talisman do you have on your desk that gives you inspiration, a chuckle, or courage as you write? Tell us what it is in the comments. Include a photo if you like. By Stephanie Bearce
You've finished your book! You spent hours editing, revising, and reworking the manuscript. Your critique group says it's ready to submit. NOW, WHAT DO YOU DO?? Should you start the agent hunt? Look for a publisher? Start a new project? My advice is ALL OF THE ABOVE! Finding the perfect agent is everybody's dream. But it definitely takes a lot of effort and TIME! You want an agent who understands your writing and your career goals. It is worth the work it takes to find the right agent, but sometimes - especially when writing nonfiction - manuscripts are time sensitive. You may want to consider submitting directly to open publishers. I LOVE my agent and am incredibly grateful to have found her, BUT I also published 28 books by submitting directly to publishers. You may start your publishing career with a book contract and THEN find your agent. It does happen. So, be open to a variety of publishing processes. If you have a story that is ready to submit - take a look at the list of open publishers below. I've done the research to find their submission guidelines and provide you the link. Your job is to find the publisher who is looking for your type of book. Just like when you query an agent, make sure the publisher is a good match for your project. I'd love to hear from you if you have questions. Please write them in the comment section. I'll do my best to give helpful answers. Best wishes for publishing success!! Children’s Book Publishers Open for Submissions Albert Whitman https://www.albertwhitman.com/submission-guidelines-for-unrepresented-authors/ Allen and Unwin https://www.allenandunwin.com/about-allen-and-unwin/submission-guidelines Andrews McMeel https://publishing.andrewsmcmeel.com/submissions/ Annick Press https://www.annickpress.com/Submission-Guidelines Arbordale https://www.arbordalepublishing.com/Submissions.htm August House https://www.augusthouse.com/submissions-guidelines Beyond Words Press https://beyondword.com/pages/manuscript-submissions Cider Mill Press https://www.cidermillpress.com/pages/submissions Charlesbridge https://www.charlesbridge.com/pages/submissions Chicago Review Press https://www.chicagoreviewpress.com/information-for-authors--amp--agents-pages-100.php Chronicle Books https://www.chroniclebooks.com/pages/submissions Dover Publications https://www.doverpublications.com/faq/contacting-dover#EDITSUB Eerdmans https://www.eerdmans.com/Pages/About/Submission-Guidelines.aspx Entangled Publishing https://entangledpublishing.com/submission-information Feldheim https://www.feldheim.com/submissions Flashlight Press http://flashlightpress.com/submission-guidelines/ Fly Away Books https://www.flyawaybooks.com/submissions Flying Eye Books https://flyingeyebooks.com/flying-eye/submissions/ Freespirit https://www.freespirit.com/Submission-Guidelines# Gibbs Smith https://www.gibbs-smith.com/submissions Hachai https://www.hachai.com/guidlines/ Hogs Back Books http://www.hogsbackbooks.com/HBB/pages/About-us.html Holiday House https://holidayhouse.com/faqs/ Immedium http://www.immedium.com/contactus/submissions.html Judaica Press https://www.judaicapress.com/pages/submissions Just Us Books https://justusbooks.com/pages/resource-center/submission-guidelines.html Kar-Ben https://www.karben.com/submissions Kids Can Press https://www.kidscanpress.com/writers Laurence King https://www.laurenceking.com/getting-published/ Lee and Low https://www.leeandlow.com/writers-illustrators/writing-guidelines Levine Querido https://www.levinequerido.com/submissions Lion Hudson https://www.lionhudson.com/authors-and-illustrators/prospective-authors Magination Press https://maginationpress.apabooks.org/?page_id=15 Mighty Media Press http://www.mightymediapress.com/submissions.html New Frontier Books https://www.newfrontier.com.au/submission-guidelines No Brow https://nobrow.net/flying-eye/submissions/?from=fe Pants on Fire Press https://pantsonfirepress.com/submissions Page Street Publishing https://www.pagestreetpublishing.com/submission-guidelines Pelican Publishing https://www.arcadiapublishing.com/ContactUs/MakeMeAnAuthor Penny Candy Books https://www.pennycandybooks.com/submit Phaidon https://www.phaidon.com/about-phaidon/submitting-a-book-proposal/ Quarto https://www.quartoknows.com/staticpages/getintouch/submissionguidelines.aspx Salaam Reads https://salaamreads.com/ Sky Pony Press https://www.skyhorsepublishing.com/sky-pony-press/submissions/ Sterling https://dhjhkxawhe8q4.cloudfront.net/sterling-wp/wp-content/uploads/2020/12/11161557/AuthorGuidelines_new.pdf Tanglewood Publishing https://www.tanglewoodbooks.com/submissions/ Thames and Hudson https://thamesandhudson.com/page/getting-published Tilbury House https://www.tilburyhouse.com/submissions Workman https://www.workman.com/work-with-us/author-submissions#1 By Nancy Churnin I just sold my 11th book, but do I get stuck sometimes? YES. One of the problems that comes back to haunt me more than I would like to admit is gathering too much information. Let’s face it, one of the reasons you’re a nonfiction writer is that you love research. I’m going to take a gamble and bet that you’re one of those people that study old books, newspaper and magazine articles, lifting up your head to exclaim, Really? She did what? That actually happened? It’s easy to hoard all this delicious information and to get carried away by all the fascinating details. I’ve been there. I’ve done that. I’ve written in a previous Nonfiction Ninja post about A Theme to the Rescue – where a strong, kid-friendly theme helped me streamline (and, sigh, toss out) details that kept my story boat from floating. A theme is a lifeline. But in this post, I want to talk about how structure can also be your friend. When I’m worried that I’ve got too much information or narrative for a picture book to hold, I give thanks to picture book author and Storystorm creator Tara Lazar, and pull out her Picture Book Layouts, better known as dummies.Tara gives two options below. In one example, you have 14 spreads, plus 2 single-page illustrations. In the other, you have 12 spreads. Trying to see how your story fits into this limited number of spreads can wake you to reality very quickly. Given that you don’t want to have more than a couple of sentences on each spread, you realize you have to make big choices: do I really need this? Is this advancing my theme and doing it in a way that makes kids want to turn the page to a satisfying conclusion? If you’ve got too much information for a dummy to hold, maybe what you really want to work on is middle grade. But that’s another story.    By Stephanie Bearce
Writing nonfiction ALWAYS means research. Sometimes it involves deep dives into the library stacks or wandering through jungles of internet information. But other times it means plunging into the ocean with a jellyfish, crawling through caves hunting for bats, or scaling crumbling cliffs collecting fossils. I've had some of my best adventures doing research for nonfiction projects. I've crawled through rooms full of artfully arranged skulls to learn about the Paris Catacombs. I've spent hours sitting outside in subzero temperatures to understand the mating habits of Gray Wolves, and I've traveled to the rivers of Australia to watch platypus play in their own environment. Each adventure has given me insight that I never could have found in a library or on a YouTube video. I learned that the adorable platypus is a hyperactive little bugger. He is constantly diving for food, coming back up to gasp for air with sides heaving and body still wriggling. In seconds he dives back down to waggle his bill through the mud hunting for supper. The best way to track a platypus is to watch for the air bubbles that escape when he is underwater. Follow the bubbles and eventually you will see the platy surface. I've learned how to tell who is the Alpha male in a pack by the way the wolves hold their tails. The alpha male's is usually straight out even with his back. I also know that the easiest way to tell a fossilized bone from a rock is to lick it. The porous nature of the bone will cause it to stick to your tongue. And yes, it is better if it is a clean fossil - but when in the field... I'm really excited about my next adventure. I'm headed to Lyme Regis, England. Home of fossil hunter Mary Anning. I'm going to spend time in her home town, read her papers, climb her fossil cliffs, and hopefully spot a few of the fossils that made her famous. What will I learn about her that I couldn't find in the library or on the internet? I'm not sure! And that's a part of the adventure. I know that by walking in her footsteps and seeing the place where she lived and died, I will learn something new. Something that I hope will make my book about her unique and enthralling for middle grade readers. It is not physically or financially feasible for authors to investigate each of their topics in person. But on those rare occasions when you are able to dive into the ocean with a scientist or walk in the footsteps of history - take advantage. Go on the adventure and soak up the knowledge. Your story will be all the better for it.  by Christine Liu-Perkins
My favorite part of the writing process is doing research. I collect as much as I can. The upside of extensive research is having a wealth of information to draw on and learn from. But the downside is getting overwhelmed trying to process all that material. How can one absorb and understand so much information? How do you get it off the page (or screen) and into your mind? Studies shows that students learn best when they actively engage with material. Likewise for writers, the more we ponder, wrestle with, and ruminate over our research, the more we comprehend. And the better we understand a subject, the more deeply and creatively we can write about it. How can we get research off the page and into our minds? "Get control over your topic by writing about it along the way," suggests one of my favorite books on academic research and writing (Booth, Wayne C., Gregory G. Colomb, and Joseph M. Williams. The Craft of Research. Chicago: The University of Chicago Press, 2008, p. 66). Reflecting on smaller chunks of research as you gather it will help you avoid being overwhelmed by mountains of information later on. Here are some ways to ponder, wrestle, and ruminate over your research:
Ponder, wrestle, and ruminate over your research along the way. You'll be well prepared when it's time to write that first draft! |
