Big Sur Children's Writers Workshop

I just returned from a Children's Writing Workshop in Big Sur sponsored by the Henry Miller Memorial Library. The conference director was Andrea Brown and many of her staff attended the workshop. It was excellent, with a mixture of presentations, critique groups, one-on-ones, and free time to write and revise. The ratio of staff to participant was incredible, approximately 80 participants to 20 staff. There were four critique groups over the weekend, five or six people per group, each group led by an editor, agent or author. The same people were in the first and last critique group which allowed us to present some work, use the comments to make changes, and bring it back to the group. I found that to be extremely helpful, and returned home tired but with focus and direction toward revising my manuscript. I had the good fortune of being in a group led by Caryn Wiseman, an agent with the Andrea Brown Literary Agency. She's bright, fun and so on target with each of our manuscripts. I also had a one-on-one with author Elizabeth Spurr who suggested I rewrite my manuscript (an adventure/thriller) in present tense to make it more immediate. I used the "free writing time" to try and incorporate the suggestions from my critique group and from Elizabeth, and felt my manuscript come alive. I highly recommend this workshop for anyone trying to bring a finished or nearly finished manuscript to the next level. The workshop was held at the Big Sur Lodge which is nestled in the woods just blocks from the ocean. The scenery is breathtaking and inspiring. I can see why there were many participants returning from prior years. I'd have no reservations about going again!

Voice and Character Development

I recently read a blog by Colin Murcray on that elusive thing called "voice" which every writer tackles to make his or her story a page turner. You can have a dynamite plot, but if your character's (and secondary characters) voice(s) don't ring true, your reader won't make it past the first chapter, or page. As Colin said, it's much easier to write a story in which the character is someone you know, or is like someone you know. When you have to create a character from scratch, it takes numerous hours and exercises to bring them into focus. Currently, I'm reworking (following several other reworkings) a young adult novel in which the main character is part British and part Native American. This novel, AWAKENING AT SPIRIT LAKE, has won three awards, best YA at the 2003 DreamMaker Workshop in Elizabeth, Colorado, first place in the 2005 Pikes Peak Writer Paul Gillette contest (YA Category), and a finalist award in the 2007 Rocky Mountain Fiction Writers Colorado Gold contest (General Fiction Category), yet I know I still need to strengthen a couple of the characters. I'm currently reading a wonderful book called SEARCHING FOR CHIPETA about Ute Chief Ouray's second wife, written by Vickie Krudwig. It's a beautifully written account of the Utes' struggle in the nineteenth century as the white men moved westward and the government forced many Ute bands off of Colorado lands and onto reservations. I find it helpful to learn about their lives, struggles and traditions, and Vickie has done a wonderful job of getting inside Chipeta's head to tell the story. I also plan to visit the Ute Indian Museum in Montrose, Colorado soon. Although it's extremely hard to get inside the head of someone so unlike yourself, I believe it can be done. Afterall, a man got inside the head of a Geisha woman and wrote an incredible book. But it takes longer, more research, and persistence. In the end, I believe it makes writers more open to other cultures and beliefs, perhaps more tolerant. I believe I'm getting closer to the hearts of my characters, and plan to pursue this story, hoping the journey will result in a published book, but certain it will result in a wiser writer.

Don't Forget to Celebrate

With the numerous rejections most writers face as they strive to get that first book published, I think it's important to celebrate! Celebrate what? Every little achievement -- completing the first draft, giving it to your critique group, tackling tough revisions, submitting it to a contest, receiving an award, pitching to an agent or editor, submitting to an agent or editor, signing a contract. All of these are milestones to be celebrated amid the dozens of rejection letters that come our way. I recently submitted a YA manuscript to the Rocky Mountain Fiction Writers Colorado Gold contest. I'd been struggling with one of the storylines and batting my head against the wall trying to decide whether to pursue this story or shelve it for awhile. I decided to submit it to the contest and request a critique. I felt good when I left it at the post office, so I celebrated. The manuscript had been through my critique group a few times, I'd made many revisions, and even won first place in the 2005 Paul Gillette contest with it. Still, I knew there was a problem with one of the secondary characters. I believed the story was solid and unique, but I couldn't work through the character to make her come to life on the page. I thought perhaps one more outside critique could help me decide on a course of action. I was stunned when I received a phone call notifying me that I was a finalist in the 2007 RMFW contest in the General Fiction category. Another reason to celebrate! And the critique I received back was very helpful, shedding some light on the exact issue I'd been struggling with. I don't know whether this book will find it's way to a publisher, but I'm excited about it again and reworking the tough parts -- and planning to submit a revised draft to my critique group soon to start the celebration cycle all over again.

2007 SCBWI Conference

Wow! I just returned from the 2007 SCBWI Conference in L.A., and my mind is still reeling. Four Golden Kite awards were awarded this year, to Tony Abbott, Larry Day, Russell Freedman and Walter Dean Myers. It was great to hear each of them speak about their own writing journeys and to honor their work. As always, Lin Oliver and Stephen Mooser did an incredible job with the conference. It was both informative and fun, and run so smoothly you'd think these huge things did themselves. As a mere retreat coordinator for our local SCBWI, I know that's not even close to true. It was a special treat for me to have a chance to talk to Newberry Award winner Susan Patron. She's such a gracious and talented writer, and it was great to find out that, like me, she doesn't outline her novels. Rather, she delves into it and lets the story unfold -- not without a general sense of where it's going to end up, of course. Currently, she's working on the sequel to The Higher Power of Lucky. John Green, Looking for Alaska, received four ovations after his dynamic keynote talk entitled "All Writing is Rewriting." There were wonderful sessions by author/illustrators (Peter Brown's keynote was humorous and interesting as he retraced the steps in his career, as was a keynote by editor Allyn Jonston and author/illustrator Maria Frazee on how they work together). Agents Kate Schafer and Tracey Adams did a great job of comparing two very different literary agencies, one large and one small. I also attended Kate Schafer's breakout session in which she provided indepth information and advice on an agent's role and how they can help writers. The line of people waiting to talk to her at the end of her session suggested it could have gone considerably longer. There were so many excellent speakers and sessions, it would be impossible to review them all here. One of the best perks of these conferences are the writers you meet, like two special ladies from Oklahoma, Sara McAlister and Susan Meyers (Callie and the Stepmother, a delightful chapter book) whom I hope to stay in touch with. It is SO worth attending these national conferences whenever possible. All in all, the conference was motivating, educating and uplifting, and I found myself ready to hit the keyboard again when I returned home.

A Journey in Patience

My writing journey has taught me that there are many rocky paths within the larger journey, like being disciplined about writing, and turning criticism into a positive outcome, and learning the virtue of patience. Probably the most difficult is the last one -- patience. No matter how many writers talk of their experiences, waiting months to hear a response from an agent or editor can be agonizing. The key is to move on. Keep writing. In other words, don't put all your eggs in one basket. If you have another manuscript well on it's way to completion, it's easier to put the one (or ones) you've submitted at the back of your mind and concentrate on your new story. Creating is the part of this whole writing journey that uplifts us, not the waiting part. Attending conferences and workshops can also help raise your spirits during the waiting period. It always helps to mingle with other writers. It's also an opportunity to meet agents and editors, providing more places to send your work,another example of not putting all your eggs in one basket. I'm planning to attend the national SCBWI conference in Los Angeles next month and can hardly wait (so to speak). Besides meeting other authors, and hearing from agents and editors, it's a great opportunity to talk to those who have succeeded. I believe that no matter how long you've been writing, there's always room for learning something new. I've found this to be true at every conference I've attended. I've learned that the way to deal with waiting, is to not wait. Patience is a virtue, but nowhere does it say you can't look for ways to stay motivated while you're developing this virtue. Keep writing! Explore new topics, stay in touch with other writers, attend conferences and workshops, read books in your genre...and keep writing.

A Process of Revision

Thinking back to my first introduction to critique groups, which was through an SCBWI workshop, I had the ridiculous notion I didn't need one. Wow, was I wrong! There are so many things you don't see in your own work. I've decided that's because you're too busy admiring it. I have a fabulous critique group, none of whom are reluctant to tell me my story drags in places, the voice is off, I left a storyline hanging, or the tension needs to be ratcheted up a notch (or ten). As hard as those things are to hear when you've spent a zillion hours writing and re-reading your work, I find my reviewers are usually (almost always) right.

That's not to say it makes revisions easier. In fact, I never delve into major revisions before going to the gym and letting all the impossible changes I need to make sink into my tired and depressed brain. Time on the treadmill seems to stir up ideas. Then I'm ready to tackle what to me is the most difficult part of writing -- the first revision. If you look at the mass of critiques from the various members of your critique group, it looks daunting. I've decided that a writer must have come up with the notion that the best way to eat an elephant is one bite at a time. It applies to revisions, too. (I haven't actually eaten any of my manuscripts, but the thought has occurred to me a few times.) My revision technique is this: I use a master copy of my manuscript and copy everyone's comments/suggestions onto it, then I start going through it. When there are huge story changes needed, I do it in a brand new file. It makes me feel more free to create rather than try to make it fit in with what I've already written. I can later copy and paste into the original manuscript and go back and make any changes that need to be done to make it work.

Then, of course, there's more re-reading, re-reviewing and revisions, but to me, it helps to have a process down so when I leave a meeting in which my work has been reviewed, I know once the shock wears off, I'll be ready to forge ahead.

PPW Conference

The Pikes Peak Writers Conference was fabulous. It's incredibly motivating to hear powerhouse authors like Jim Butcher (Dresden Files) and Robert Crais (The Watchman, among others) talk about their struggle to get where they are, their failures and successes, their rejection letters! I came home feeling like a writer. In fact, I've been plowing through revisions the last two days and finally have a semi-final draft of my new middle grade novel done and ready to go to my great critique group (a topic for another post).

During the awards ceremony, I sat with Mary Jo Putney which was truly an honor. She and her husband are both delightful. I walked away with my 2nd place award and an autographed copy of her new book, The Marriage Spell. What a magical night!

There were so many inspiring and informational workshops, it'd be impossible to name them all. Every writer should treat themselves to conferences such as these. They feed the soul and keep you going between rejection letters -- on your way to the first book offer.

the heart of my story

Something author Randy Powell talked about at our 2006 RMC-SCBWI summer retreat sticks with me as I write, revise or explore new topics. He said that it's important to clearly identify the heart of your story. If you don't really know what your story is about, how can your reader know? And it's amazing how you can get immersed in a manuscript, creatively describing breathtaking scenery and invent gripping dialogue, but stumble when asked, "What is your story about?"

I've found that signing up to pitch to an agent or editor is a good way to test whether you're in touch with your own story. I believe the heart of your story should come through in your log line, or at least within the first couple of sentences as you begin to talk about your manuscript. In fact, I find it helpful to write a few log lines as I move forward in my writing just to be sure my original theme hasn't gotten lost somewhere in the dense, frost-covered forest. It's possible that my original theme has changed as my story develops, but it's something I need to be aware of and be okay with. I'm in the process of preparing for my pitch at the PPW conference next week. I'm going through several versions of log lines and first sentences to be sure I can clearly verbalize what I see as the heart of my new middle grade novel.

Sometimes I wonder where my head is. After hearing a great presentation from an editor at the SCBWI spring conference, and reading her submission guidelines which clearly state that a conference participant should indicate on the front of the envelope that she attended the conference in order to steer her manuscript away from the slush pile, I sent my submission without that notation. I agonized over what to do, then decided to resend it with an explanation and my apologies. I figure she'll think I'm either persistant, high-maintenance, or totally losing it -- two of which apply (I'm really not high maintenance.).

I've been immersed in revisions which is, in my opinion, the hardest part of writing. The presentations by Todd Mitchell and Laura Resau at the spring conference were timely and excellent. As one of our esteemed RA's said, sometimes you hear the same thing again and again, but until you're actually at that stage in your own writing, it doesn't resonate. (Thanks, Becky). That's one reason it's important to keep going to workshops, conferences, presentations, anything to move your work along. Now, back to revisions.

My First Blog

Okay, I've been threatening to start blogging but I decided to wait until I figured out what blogging was. After attending the Rocky Mountain Chapter's spring SCBWI conference and listening to a wonderful presentation by Olgy Gary, I'm now actually blogging, although I'm still not sure what it is. I'm gearing up for the Pikes Peak Writers conference coming up in a couple of weeks where I'm excited to receive my third Paul Gillette Contest award. I also look forward to reading a few pages from my new middle grade manuscript and pitching to an editor. And I totally look forward to seeing all my writer friends there.