A Journey in Writing for Children

Changing Tides (and Facing Revisions)

2011-12-28T14:17:00.001-08:00

My critique group reviewed my new middle grade novel a couple of weeks ago. I was thrilled to get good reviews. Of course, this doesn't mean it's ready to send out. I have lots of work to do! I've been with The Wild Writers (http://www.thewildwriters.com/) for a year now, so there were no surprises as I sat on the hot seat. These folks are incredible, and they don't mince words, and they don't let me get away with sloppy writing or cutting corners. Some of the biggies I'm facing are: delay the second major turning point; the middle sags - give the protagonist a larger purpose and make her more active; revise the ending. Then, of course, there are smaller suggestions that only mean reconstructing and/or rearranging whole chapters. But hard as it is to face the major revisions, I know the group is right, and I've made the plunge. Getting started was hard, but I'm already feeling good about the changes, and each morning, I look forward to working on it.

I'd played around with titles for the book, and after some group discussion, one title was suggested that everyone liked and that fit the story well. I've titled the book "Changing Tides." I hope to have the next draft completed before the Pikes Peak Writers Conference in April where I plan to pitch it to an agent. Keeping my fingers crossed for good tides!

Finishing the First Draft

2011-08-06T11:58:00.000-07:00

I'm excited and a little let down. Finishing the first draft of a novel always leaves me with an incredible sense of accomplishment mixed with a sadness because I won't be putting my characters into any new quandries that they need to figure their way out of, or challenging them with roadblocks they must overcome to reach their goals. I just finished my middle grade novel, THE EX-CON AND THE SEA, about a twelve-year-old girl, Missy, whose poor school performance leaves her at the bottom of the sixth grade, and whose mother has been sentenced to three months in an alcohol treatment center for causing an accident resulting in injury. The only person her mother could find to watch over Missy and her six-year-old brother, Hayden, is their estranged fisherman father who has been out of prison for only a year and who has no experience raising children. It's hard enough to suddenly be living with a father she barely remembers, but the task is magnified for Missy as she tries to carve out a temporary existance for her and her brother in a small fishing community, struggle with her low self-esteem, study for her pending test, and manage her growing anger over her mother's drinking.

As the title suggests, there are some ties to Hemingway's The Old Man and the Sea, though the story itself is quite different. I loved writing it, and the let down comes when you have to say goodbye to your children's adventures, and finally write the words, THE END. But it's really not the end, because now I'm ready to delve into revisions, and submitting it to my critique group, and more revisions, and submitting it to agents, and hopefully more revisions before submitting to publishers, and hopefully more revisions after that. So silly as it sounds, I'm praying for lots of rounds of revisions before I finally say goodbye to Missy and Hayden.

Hopping on the E-train

2011-06-03T07:15:00.000-07:00

The e-buzz about e-books has everyone in the writing world scrambling to understand it and its implications for the future of writing and publishing. Our critique group is no exception, and we've been having a number of discussions about where the e-book train is heading. I'm finding it both exciting and daunting as I try to wrap my mind about what it all means. For example, what role do agents and publishers play in this evolving e-book market? How does it effect book reviews? Will the move to e-books effect the quality of books available to readers? Will "e-sales" become the index for labeling novels as "satisfactory" or "good" or "excellent"? Along with many fellow readers, I resisted the move away from the traditional hardcover books which for years has been synonymous with rainy days and crackling fires, but the e-book movement is gaining momentum, and I finally broke down and bought my Kindle. While my heart still fights for the old way of doing business, I'm glad that our group is taking the initiative to stay abreast of the e-book whirlwind and evaluate the impications for us as writers. Change often comes like a speeding locomotive, and if you don't hop on, you'll be waving goodbye from the tracks.

Humor and Pain

2011-04-08T17:26:00.000-07:00

We had an interesting discussion at my critique group meeting today. It centered around the co-existence of humor and pain in novels. A book that immediately came to mind was one I'd recently read called Mockingbird, by Kathryn Erskine, about a child with Asperger's syndrome who had recently lost a beloved brother. The author does a magnificent job of getting into this little girl's head to tell the story, adeptly showing the confused thoughts associated with the disease, and the painful insults she endures from classmates while trying to comprehend the tremendous void in her heart. Even with such a heavy topic, Ms. Erskine has woven in amazing humor that made me laugh out loud. Done well, such humor intensifies the love and sympathy the reader feels for the protagonist as she plays out the painful elements of her life. In real life, pain and humor often go hand-in-hand. We can probably all remember sad and/or tragic times when something humorous happens that makes us smile, maybe even laugh, and we think, how can I possible laugh at a time like this. Maybe it's what keeps us from crashing. The trick in writing is to make the humor real and spontaneous, not contrived.

The End

2011-02-24T15:13:00.000-08:00

I submitted a manuscript for review by my new critique group, then held my breath as I sat in the hot seat and listened to every comment. I was heartened by their kind praise of my tween novel, SEASHELL SECRETS, calling it a well written and powerful novel. This initial review helped soften the challenging suggestions that followed, suggestions they believed would make the story better. Of course, this is why they're there, and it's why I'm thrilled to be a part the group. Since the review, I've immersed myself in revisions. It's interesting how an easy suggestion can turn into hours and hours of work. Several of the members felt that a key scene in my manuscript needed to come earlier in the book and become the first turning point. I know they're right, but it's like one of the writers remarked, "pulling on one thread sometimes unravels the whole sweater." It actually hasn't been quite that bad, but close. In the early chapters, I had a number of scenes leading up to that key scene. After the change, I found myself referring to people who the protagonist hadn't yet met, or talking about something that hadn't yet happened. But I've almost completed those revisions and am feeling better about the book.

Then there's the other BIG thing...the ending. Endings can be tricky. In the "old" days, most books, especially children's books, had happy endings, sometimes too perfect. Now, the emphasis is on making the ending realistic, while still infusing a sense of hope and showing that the protagonist has changed and grown. I like my current ending, but can it be better? Possibly, and that's what I'm working on. My critique group offered several scenarios, all of which carry merit, a few which would require a considerable amount of rewriting. One thing is for sure, I will carefully consider all of them, even if it means going through the exercise of rewriting the final scenes, before settling on the ending to my story. We always want to believe that what we've written is as good as it could possibly be, but that's why we have critique groups, to keep us honest. And after my first critique, I have no doubt that my new group will keep me honest.

Historical Fiction - Telling it Like it is

2011-01-18T10:48:00.001-08:00

During my celebration dinner with author Claudia Mills the other night, we had a discussion about a topic that's been on my mind since I began writing my tween novel, SEASHELL SECRETS, which is set in the early 1960s during the Civil Rights Movement. The issue is this: In order to tell a story involving the plight of black citizens during that time, and tell it honestly, you risk using language and writing scenes that were, and are, offensive. I was so moved by Kathryn Stockett's book, THE HELP. In it, Ms. Stockett bluntly describes the treatment (or mistreatment) of black maids in ways that sometimes brought me to tears. She could have softened the account to minimize the risk of offending readers, but she didn't. The recent controversy over Mark Twain's use of the "N" word begs the question about "accuracy" versus "non-offensive," understandably a difficult discussion. A related issue is whether it does more harm than good to write a book that brings back difficult, less honorable, times in our history after we've made significant strides to improve upon those times. After much thought and discussion, I believe historical fiction is one way to remind us of our past, offensive though it might be, and force us to recognize telltale signs that such despicable prejudices might resurface if we're not careful. There are constant reminders in the news that, as a nation, we have not conquered this problem. I asked a delightful black woman named Dorothy to read my manuscript before I began submitting it to agents. I told her I wanted the story to be accurate but not offensive. Dorothy looked at me and said, "If it's accurate, it will be offensive," and I realized then, that nothing would be more offensive than to downplay the struggle of the black population as they strove for equal rights and proper respect in our country.

Word for 2011

2011-01-01T12:51:00.000-08:00

My wonderful mentor, Claudia Mills, comes up with the most delightful ideas. For example, as she talks about in her blog, she chooses a word each year that will be her word the year. This year she has chosen the word "grope". Today, the first day of 2011, I decided to pick a word, too, and the word I chose is "celebrate." It's fitting because less than an hour ago Claudia sent me an email, and after reviewing my most recent revisions to my tween novel, SEASHELL SECRETS, she proclaimed it DONE! And that is certainly something to celebrate! I wrote a blog a while back talking about how important I believe it is not only to celebrate the big things (like contest wins and your first book offer), but also the small accomplishments along the way (settling on a topic for your next book, completing the first chapter, the first draft...sending it out). This is true not just in writing, but in daily life. We certainly scold ourselves for mistakes made, but all too often, we forget to pat ourselves on the back for jobs well done. I will be taking Claudia out to dinner one evening soon so we can both celebrate, and I can hardly wait!

Christmas - Then and Now

2010-12-26T12:49:00.000-08:00

Christmas brings such mixed feelings anymore. I miss the days when I was young and with my family at my parent's house with few concerns beyond what's in that big present. Since my parents died, my two brothers and my sister and I have gone different directions and it's hard to get us all together. This year, my eldest brother's family were all in town, and I had them over for dinner which was wonderful. He has two lovely daughters, both married, one with a darling daughter of her own. The spirit of Christmas shone bright in the eyes of this little 2-1/2 year old. I gave her some froggy pajamas, and as soon as she pulled them out of the box, she stripped off her cute Christmas dress and wore the pajamas the rest of the night. I think we all wished we could do the same. I loved being with my brother and wished with all my heart that my other brother and my sister had been there, too. If only I'd known as a child to cherish those days when being together was the norm. But I guess you have to grow up to appreciate what you once had. Still, there's a lesson here that I realize I need to pay attention to: I need to cherish parts of my adult life now that may be lost to me sometime in the future.

A toast to success and critique groups

2010-12-05T06:55:00.001-08:00

I attended my second meeting with my new critique group yesterday. This one was extra special because we celebrated a good friend's first book offer! Pam Mingle's beautifully written YA time travel book titled KISSING SHAKESPEARE will be published by Delacorte in 2012. In it, a young girl suddenly finds herself living in the past with a daunting mission: she must seduce William Shakespeare. Otherwise, all of his plays will go unwritten. The book weaves an intriguing romance with mystery, and is filled with wonderful descriptions of the period. I highly recommend it when it comes out.

After we toasted Pam, we reviewed a beautiful short story by Laura Deal. The overwhelming recommendation was that it was so well written and the story so captivating, we all wished it was a full-length novel. Amid the praise were thought-provoking recommendations for changes that must have left Laura a bit dazed which is often the case when you're the one in the "hot seat." Again, I was struck by the talent of these writers, while at the same time a bit intimidated knowing that I will soon be the one in the "hot seat." I came away wondering how anyone writes a truly great novel without input from fellow writers. So...here's to Pam and to my new critique group.

Worthwhile Endeavors Take Time

2010-11-24T08:49:00.001-08:00

I spent this past weekend at a girlfriends getaway in a lovely mountain cabin. We all used to work together and have been friends for many years. There's nothing quite like close friends with whom you've shared many ups and downs of your life and of theirs, and who can gather around the fire and pick up on any conversation because you know each other so well. Years of experience has its advantages, both in friendships and in writing. I cringe sometimes when I go back and read some of my very early work. They're two dimensional, like factual accounts of a kid's story rather than the subtlety it takes to make the reader feel like they're actually living the story along with the protagonist. Furthermore, they lack the emotional depth needed to make the reader care about what happens to the characters in the story. To achieve these essential elements takes hours upon hours of reading and writing for children. That's not really surprising. Anything worth doing well requires that kind of stick-to-it-ness, that kind of dedication. You have to love it, and I do. I'm on my fifth year of writing and revising my tween novel, SEASHELL SECRETS. I'm almost finished with what will hopefully be my last revision, which was quite extensive despite the fact that it won first place in the children's category at last years Pikes Peak Writers Paul Gillette Contest. Even after all these years and all this work, I still love the story, in fact, even more now. It remains to be seen whether a publisher will love it, too.

New Critique Group

2010-10-29T18:06:00.000-07:00

I attended my first meeting with my new critique group yesterday. What an incredible group of writers! I've known some of them through workshops and conferences, and already knew the talent in this group was extraordinary. We meet once a month for four hours. The members take turns hosting the meeting, and it's a lovely atmosphere with snacks provided. Yesterday we reviewed a short chapter (possibly middle grade) book. The comments and suggestions offered were direct and insightful, not just to the author of the work, but to me, and I suspect to everyone in attendance. New members must wait three months before submitting their own work for review. The review itself can be grueling, but what an incredible opportunity to learn and improve my work. I was in a critique group prior to this, also wonderful writers, but the group began to dwindle and I was delighted to be invited to join my new group. About half of them are published. All of them are incredibly talented. They'll definitely keep me on my toes!

Using the Five Senses

2010-10-07T12:12:00.001-07:00

At the prompting of my fabulous mentor, I'm focusing on making more use of the five senses to make my scenes come alive. It's always such a delight to find books written by authors who excel in this. One of my favorites is The Secret Life of Bees. So the other day, I paid close attention to an outing with my niece and my 2-1/2 year old grand niece as we met for a picnic in the park. What a lovely day that was. The sounds: happy squeals as kids rush to the swings, parents cautioning to be careful. The smells: freshly watered grass, occasional whiffs of dust as little feet patter across the playground. The visual: Little bodies wriggling across the monkey bars, colorful fall leaves drifting to the ground, wide eyes trying to decide what activity to do next. Taste: ham and turkey sandwich dabbed with red wine vinegrette, lightly salted chips, juicy grapes, and chocolaty brownies. The feel: the gentle autumn sun on my skin, the warmth inside as little hands reach for the peanut butter and jelly sandwich I made especially for her. We couldn't experience life without all of these sensory inputs. How can we expect our readers to feel the life in our books if we leave them out?

RMC-SCBWI Fall Conference

2010-09-19T09:38:00.001-07:00

No matter how many times I attend a Rocky Mountain Chapter's SCBWI conference, I leave feeling rejuvenated and excited about writing for children. Bruce Coville's keynote address was both inspirational and humorous as he adapted the seven deadly sins for writers. The audience, in laughter much of the time, was also moved to tears. His talk reminded us that sometimes, as we spend many hours alone writing, we need to be reminded of the many lives our novels can touch. The conference offered participants an opportunity to submit the first page of their novels to be read aloud and reviewed by an editor. I read the submissions and Kate Harrison, senior editor for Dial Books for Young Readers, commented on each of them. I was proud of the quality of these submissions, and awed by Kate's thoughtful review of them on the spot. Author Traci Jones did a marvelous session on Tips for Writing a Multicultural Novel. Her words were particularly relevant to me as I work on revisions to my tween novel, SEASHELL SECRETS, which takes place in the early 1960s during the Civil Rights Movement. Author Denise Vega reviewed ways to ratchet up the tension, and evaluate and improve scenes in your novel. I walked away with ideas for improving my own work. Later that afternoon, I listened to a panel of agents and editors respond to questions from participants. It was a lively session with all of them responding to great questions about the publishing industry. Elizabeth Law, Editor of Egmont Publishing, was delightfully fun and funny. Of course, one of the best perks of these conferences is the opportunity to mingle with so many talented writers and illustrators. I'm so impressed with the professionalism displayed throughout, and all the hard work of so many volunteers to make the entire conference run smoothly. I can hardly wait until the next one!

Real life experiences

2010-08-24T08:53:00.000-07:00

My brother writes beautiful poetry. I write children's books. We've exchanged work and it's so fun to talk writing with him. As a good brother should, he pays my work high compliments. And I am in awe at how he can say so much with so few words. (He was kind enough not to remark that I could say so little with so many words.) In recent works, we both honored our father, a kind, gentle man who battled macular degeneration before his death. My brother's lyrical description brought tears to my eyes. In my middle grade novel, DON'T LOOK BACK, I relied on memories of Dad's experiences to create my grandpa character. Even my own words at times brought tears to my eyes, but that's when I knew I'd accurately captured pieces of my father's life. Real life is multifaceted, good and bad, pain and laughter, sorrow and joy. The trick in any artistic endeavor is to feel it deeply enough to recreate it, to relive it as you reproduce it, whether it's in a painting, a poem or a character.

TRY HARDER, WRITE BETTER

2010-07-21T13:10:00.000-07:00

I learned so much from Claudia Mills as she mentored me through my middle grade novel, DON'T LOOK BACK, that I asked her if she'd consider mentoring me on a revision of my tween novel, SEASHELL SECRETS. Both of these manuscripts are "completed," and both have won awards in the Pikes Peak Writers contest. But I knew in my heart that both manuscripts had problems I couldn't identify. And both had been reviewed by my wonderful critique group. I believed in the stories in each book and didn't want to give up on them. The SCBWI Mentor Program offered the perfect vehicle for me to move forward. I'm excited about the revised manuscript and have begun sending it out. Meanwhile, I'm delving into revisions to SEASHELL SECRETS with the hopeful attitude that working with Claudia gave me with DLB. In our very first meeting on SS, she made a suggestion that completely transformed the approach I'm taking at the beginning of the novel, and I'm loving it, and hope my reader will, too. It's amazing to be excited about a book you've already revised a number of times, but I am. SEASHELL SECRETS is a story about racial prejudice and racial identity during the turbulant times surrounding the Civil Rights Movement. I first wrote this book about four years ago, set it on the shelf for a while, but am ready to revise and polish it now. I recently read THE HELP and was humbled by the depth of the story and the beauty of the writing. I've heard some writers say that reading such magnificent books makes them question their own ability. It makes me want to try harder, to write better.

Finishing a Novel

2010-06-22T14:10:00.000-07:00

Authors express a variety of feelings upon completion of a novel: exhilaration, letdown, relief, anticipation...and the list goes on and on. I just completed my middle grade novel, DON'T LOOK BACK, and am going through a variety of emotions. Certainly I feel the exhilaration of writing the last chapter and typing the words "THE END." But I also miss working on it. My mentor, Claudia Mills, once paid me a wonderful compliment. She told me she loved my characters so much she wished they were real and she could go visit them. Her words were music to my ears. The truth of the matter is, I miss the characters myself. I loved creating their stories--their challenges, setbacks and accommplishments, and putting words in their mouths only they would say because that's how I created them. I've begun sending the manuscript out to literary agencies, and pray that someday I'll see that book in libraries and stores where children can meet my characters and hopefully love them, too. Now, it's time to shift my attention to a brand new story with brand new characters, all with their own gifts, faults and challenges. I can hardly wait to meet them!

Pikes Peak Writers Conference 2010

2010-05-12T14:29:00.000-07:00

I attended the 2010 Pikes Peak Writers Conference last month and as always, it was fabulous. It never disappoints, from the keynote speakers, to the sessions, to the hobnobbing with other authors. The opportunity to pitch to agents and editors is a special feature of the PPW conference. This year, I pitched to Sarah Warner and found her to be attentive and delightful. And there was an added bonus: a special 4-hour workshop by Donald Maass on enhancing the tension in your novel--great timing for me. He's such a master, and did a wonderful job, especially considering it was Sunday afternoon, the end of the conference, and all of us (probably including him) were tired. We were told to bring a manuscript-in-progress to work on during the workshop. It was interesting to apply his teachings to our own work. Kudos to all of the volunteers who make this conference one of the best in the country every year.

Tension in story telling

2010-03-26T15:17:00.000-07:00

I had a really interesting meeting with Claudia this morning. She hit on a key ingredient to writing a good novel, and one I was struggling with as I reached about the halfway mark of my novel. The ingredient I'm talking about is TENSION. I didn't have any trouble with it in the beginning of my novel as I put my character in a tense situation right off the bat. But there comes a part in many novels where things begin to mellow. In mine, it was a part where the main character and a secondary character were beginning to gel. I mean, gelling sounds like a good thing, but not if it puts the reader to sleep. I had actually recognized this problem in my novel before starting my mentorship with Claudia, and tried to remedy it by introducing a whole new tense-filled storyline. However, Claudia pointed out that this thrown-in storyline only detracted from the main story. The tension needs to revolve around that main story throughout. So I've deleted the added storyline (which was no small task since in wound through various areas of the book) and am back to work with setting a few road blocks and setbacks in my character's path in order to heighten the stakes in her main quest...a very interesting challenge!

Childrens Books as Gifrs

2010-03-22T09:20:00.001-07:00

I went to my granddaughter's 8th birthday party yesterday. What fun! I gave her a United States of America game, and 3 books. I loved seeing the smile on her face as she thumbed through the books. One was extra special. It's called PERFECTLY CHELSEA and was written by my mentee, Claudia Mills. I had told my granddaughter about my participation in the RMC-SCBWI Mentor program and about Claudia, and she was thrilled when she saw the special note to her inside the book, signed by Claudia herself! It's so fun to see a child become interested in books. Suddenly, a million worlds are opened up for her. I remember the thrill of reading a book you don't want to put down, can hardly wait to get back to, and feel a sense of loss when you come to the end. But then...you find another one, and the cycle starts all over again. A writer can provide so much joy to a child. What a great way to spend your life!

Kids as Motivators

2010-03-04T08:45:00.001-08:00

I attended a dinner a couple of nights ago held in celebration of volunteers and contributors to the Ridgeview Youth Services Center, a model program designed to treat young boys who have been sentenced by the courts to the Division of Youth Corrections (DYC) for serious crimes they committed. DYC is a wonderful Colorado state agency which oversees both state-run and privately-run (e.g. Ridgeview) programs for kids in trouble with the law. It was great to see several staff with whom I'd worked during my time as Director of Research for DYC. One of the speakers at the dinner was a former Ridgeview client who is soon to become a teacher. There are many similar success stories for kids whom, by the time they reach Ridgeview, many have given up on. A couple of years ago, a former work cohort and I partnered to teach a one-day class on life skills at Ridgeview through the Junior Achievement Program. It was a fabulous experience. The kids were respectful, attentive and eager to learn. We ate lunch in the cafeteria and listened while kids talked about the books they were reading. Their excitement was contagious and I could hardly wait to get home and work on my novel. There's nothing more motivating than the enthusiasm of kids, especially kids who are finally finding their way in a world that has been wrought with problems and heartbreak.

Character Driven Novels

2010-02-25T11:48:00.000-08:00

I'm drawn to character driven novels in which the plot and tension revolve around the main character. Some of my favorite character driven childrens authors are Sharon Creech (won the Newbury for Walk Two Moons), Katherine Paterson (author of Bridge of Teribithia and many other beautifully written award winning novels), and Kate DiCamillo (Because of Winn Dixie among others). These authors skillfully develop incredible child protagonists with such wonderful detail to personality that you feel you've known them all your life. As I attempted to write my own character driven novel, DON'T LOOK BACK, I found myself developing tension through additional storylines rather than through the character herself, a flaw Claudia Mills (who has created her own delightfully dazzling characters in the 40+ books she's published) immediately honed in on. I could see it so clearly as we discussed it, and I'm now in the process of getting rid of one (and possibly two) entire storylines, and working on developing my character's personality more fully, down to her little habits and innermost feelings, and centering most of the tension around her motivation, goals, setbacks and growth. It's quite a challenge but so satisfying when it starts coming together. Character development is crucial in any novel, but when you're not writing a mystery or an action-packed sci-fi, and the tension in your story centers almost entirely on the character herself, it's imperative that the author know this character as if it were her own child, or maybe even herself, an incredible challenge since the character is actually a figment of her imagination.

My Mentee Experience So Far

2010-02-13T15:16:00.000-08:00

I'm into my second month as a mentee in the Rocky Mountain SCBWI's new Mentoring Program. Claudia Mills is a terrific mentor. First she makes me feel like a Newberry winner by identifying the parts of my book she loves. Then she hones right in on problem spots and is so good at voicing what's wrong with them, I wonder why I ever wrote it that way in the first place. It's up to me to fix the problems, of course, but Claudia remains so positive that after our discussions I can hardly wait to tackle the changes. My first chapter is now 3 chapters. Many writers are told to do just the opposite and start the book at a later place, but my new beginning feels so much richer. My character and the setting came more alive in those earlier chapters. I'm about a third of the way through my novel, and even though I've revised this story several times, I'm excited to work on it again, almost as if it's a brand new book. I have some hard revisions coming, though, and it'll be interesting to see how these go.

SCBWI Mentor Program

2010-01-22T08:32:00.000-08:00

I'm so impressed with the energy and creativity of our Rocky Mountain Chapter of SCBWI! They recently came up with a "Mentor" program, aimed at many of us who have been writing for years with no publishing success yet, but with completed manuscripts and some kudos (e.g. contest wins) along the way. The essence of the program is that you get to work with a local author on a completed manuscript for 6 months! I applied and was accepted, and am now being mentored by the wonderful, talented Claudia Mills, author of over 40 childrens books. What an incredible opportunity. We've just begun and I've already completely rewritten the beginning of my novel, and I think it reads so much better. The six months will involve a lot of work, but whether or not I walk away with a publication, I'll learn a ton from Claudia, things I can apply to future work. So thanks, RMC-SCBWI, for this opportunity!

Challenges of writing childrens books

2009-11-13T12:12:00.000-08:00

I'm amazed at the kaleidoscope of feelings associated with starting to write a new book. The slate is blank:

Terror: What am I going to fill it with? Excitement--The options are endless.
Terror--Who are the characters? Excitement--I get to create them.
Terror--What is the theme? Excitement--One that is near and dear to my heart.
Terror--What if I can't do it? Excitement--What if I can?

A foggy idea floats around in my head. It's there when I go to bed, when I wake up, when I shower or go for a walk. Finally, I sit at the computer and begin to write, but there's much to be done before I delve very far. I find that I can write several chapters, introducing the idea which is still quite vague at this point, beginning to reveal the characters whom I'm only beginning to know myself. I explore the setting trying to incorporate all the senses. Eventually, I get to the point where although the gist of the story has been in my mind for some time, I must hone down the specifics and make sure I know the theme and heart of my story before I go on. But by now, I'm excited. I read about my topic. I surf the internet. And think, think, think about my protagonist. What does she look like? Sometimes I sketch a picture even though I can barely draw a stick figure. What are her hobbies, strengths, and faults? What is endearing about her? How is she different from other girls her age? What does she want? Why can't she get it? If I could meet her right now, what would we talk about? What words would she use? Why? And on and on it goes until I can write dialogue and know when it feels right and when it doesn't. And clearly, if there's dialogue, she must be talking to someone. Who? What are they to her? What are their personalities, goals, problems, etc.

When I read books by great authors like Sharon Creech or Katherine Patterson or Kate DeCamillo, it fascinates me how quickly I know their characters, and how easy they make the writing process look, and then to work on my own novel and realize how difficult it is to make it look so easy. This journey of writing stories for children is an incredible challenge, but one I look forward to embarking on every day.

To outline or not to outline

2009-08-17T08:10:00.001-07:00

I've come to believe there are as many approaches to writing fiction as there are writers. Some complete the entire novel before making any revisions. Others agonize over a paragraph before going on to the next. One of the big debates is whether or not it's imperative to outline your story before delving into the writing. Those who do outline, swear by it, claiming it keeps you focused on the theme of your story, or the direction you want it to take--that it basically keeps you on track. Those who don't outline often say it thwarts their creative juices. I fall in the "don't outline" camp for the simple reason that I can never think what to put in my outline. I spend a lot of time thinking out my story in a general sense, but it's not until I'm actually sitting at the computer that it begins to unfold. After listening to some authors, whose work I totally admire, enumerate the benefits of outlining, I decided to give it a try with a novel I had half written. I even went back and briefly noted the general gist of each chapter I'd already written. When I finished that, I sat down ready to outline the rest of the book. And I sat there...and sat there. Finally, I went and wrote the next chapter so I knew what to add to the outline, and that's when I knew outlining probably wasn't going to work for me. It's an interesting thing to learn about yourself, especially when as a researcher for many years, I outlined every report before I wrote it. But those were technical reports with an introduction, a hypothesis, methods of data collection, analysis, and results. The outline is already there, you just fill in the blanks. You'd think that with that much experience outlining, it would come natural for me, but in fiction, it doesn't. I guess the moral of this blog is, don't agonize over what works for others, do what works for you, and appreciate the diversity of methods that produce incredible stories.

Pikes Peak Writers Conference 2009

2009-04-28T08:24:00.000-07:00

I attended my sixth Pikes Peak Writers Conference last weekend and it never disappoints. The quality of the workshops and the professionalism of the staff are superb. Many states were represented at the conference. A woman from Florida told me it's worth the expense and travel time to attend, and she prefers the PPW conference to all others.

Linda Rohrbough ran a wonderful workshop informing us of a number of tools many writers know nothing about but which can open up new doors and become instrumental aides for the writer. I'm anxious to try them out. I attended two workshops by Linda Seger and was extremely impressed. Linda is a script consultant and has worked on over a hundred movies. In the first workshop, she used a movie video to demonstrate an actor's character arc. It was clear, to the point, and very relevant to any work of fiction. She also used movie videos in her second workshop to demonstrate the 3-act structure. I found myself reviewing two of my books with this model in mind and came away with ideas for making them stronger. Exactly what one wants to get from a conference. All of the keynote speakers were magnificent. I especially loved Jeffery Deaver's humorous address at the awards banquet.

It's always fun to come to the conference as a contest winner. I loved hearing my friends cheer for me as I accepted my first-place award for my tween novel, SEASHELL SECRETS. And the structure of the meals (an author, agent or editor seated at the tables with the attendees) allows wonderful opporunities to pitch your work. I left the conference with 3 requests to see part or all of my manuscript, and a huge smile on my face!

I'm always struck with the camaraderie of writers at the conference. One writer sitting between me and an agent kindly told the agent he should hear about my novel, setting up the perfect pitch opportunity and one of my 3 requests for material. Thanks Mandy! Her unselfish assistance inspired me to do the same for other writers which I plan to do every chance I get. She confirmed what I already knew--writers are a special group of people.

The art of revision

2009-03-09T10:46:00.000-07:00

I just returned from a lovely trip to Cozumel, Mexico to learn that my tween novel, SEASHELL SECRETS, won first place in the 2009 Pikes Peak Writers contest (children's category). What a nice way to lift your spirits after you've been whining about the vacation coming to an end.

I spent much of the past year reworking parts of this manuscript and the win was a great reward. I must thank my wonderful critique group who refused to let me get away with scenes that didn't quite work or actions that didn't quite match my character's personality. It's amazing what others can see in your work that you can't! What's even more amazing is that you can see the exact same problem in someone else's work but not in your own. When I first began writing, I had this ridiculous notion that I could do it on my own...without a critique group. What was I thinking!

It's amazing to look back at a first draft and compare it to draft number 423. Not really that many...but close. The first draft is about getting the story down and putting together interesting and believable characters. From there it's flushing out what works/what doesn't in the plot, which characters need to be strengthened or gotten rid of, and polish...polish...polish. Get rid of passive words, not so much narrative voice, more realistic dialogue, these 20 pages drag, beef up the tension. Revision is tough but so necessary. And as I talk with other writers, I find that there are as many different revision styles as there are writers. Some delve into the big issues first, saving the grammatical changes until the end. Others do the reverse. Some put it on a shelf for awhile, others dig right in. I think one of the most important attributes of someone who has mastered the art of revision is the ability to set their pride aside and evaluate the critiques honestly, even if it means deleting your favorite part of the whole novel. The temptation, of course, is to disagree with the reviewer because then you can hold on to your golden nuggets and reduce the revision time substantially. The one drawback is that your hard work may eternally sit on the shelf. For me, the revision process has been a learning experience--sometimes a painful one. But I believe as with many other talents, practice hones revision skills which improves not only a specific work, but the author's overall writing ability.

SEASHELL SECRETS

2008-12-11T12:17:00.000-08:00

One of the great parts of writing is the research needed for every new novel. The search for knowledge, while challenging, is invigorating. It's why I became a researcher to begin with, and why I worked as a researcher in both early child development and youth corrections. During the difficult and often frustrating tasks of developing believable characters and interesting plots, the research keeps your mind busy learning about different cultures, personalities, relationships, and the world around you.

I recently completed revisions to my tween novel, SEASHELL SECRETS, about a twelve-year-old girl growing up during the Civil Rights Movement. She carries a dark secret in her heart for a whole year: while her pastor father was away at a pastors' conference, her white mother gave birth to a baby with black features. Despite a cross in the woods marking the baby's grave, CASSIE believes the baby is alive and living somewhere in their coastal town of Calico Beach, Florida. She's determined to learn who the father is, and what happened to the baby.

The research for this book was fascinating. I read extensively on the Civil Rights Movement, and even took a trip down the coast of Florida to help me describe the countryside. To my delight, I found the little town of Fernandina Beach which was strikingly similar to my fictional town of Calico Beach. I learned about segregation and housing in the 1960's, and paid close attention to the foliage, birds and scenery, all of which helped build the story. There's a certain sadness that goes with completing a novel. But there's a rejuvenation that comes with starting something new requiring a whole new cast of characters, wildly different scenery and times, not to mention a whole new quest for knowledge to make the story come alive.

2008-11-30T07:31:00.001-08:00

I belong to a writers' listserv that recently exchanged information about their "writing space"--where they like to do most their writing. While my desktop computer sits on a rolltop desk in a bedroom converted to an office in a quiet cul-de-sac with deer grazing in the garden, this is actually my second choice of a place to write. First is Panera Bread located in Parker, Colorado. I love the atmosphere, a mixture of friends gathering to discuss whatever over a danish or egg souffle and a cup of coffee (morning is my favorite writing time), and other patrons turning on their laptops and digging into their own writing or business world. Friends ask me if I get distracted trying to create in such an environment. The answer is no. I can lose myself in my story while feeling comforted by the surroundings. It's like working out at a gym with others working up a sweat along with you. Although my husband works and we have no kids at home, that's where I get distracted. I could do laundry...or read something written by someone else...I should answer the phone...So I leave, and go to my favorite place to write.

At this particular moment, though, I am sitting at my desktop. Outside my window, snow is blanketing the trees and bushes, and swirling past my window in the wind. Oh, wait, maybe this is a good place to create. It's that inbetween time of year, the holidays, when there's much to do and buy, and summer when the beautiful weather is bekoning you away from your computer. In Colorado, March weather can change from sunny to blustery in minutes. Sunny is good for shopping, but I love blustery because it's the perfect excuse to put off shopping, and write--guilt free. Which reminds me, I have some revisions to make.

My current project is a few minor revisions to my YA novel, AWAKENING AT SPIRIT LAKE. This contemporary, paranormal romance is about a twelve-year-old girl who dislikes the Native American side of her half-breed heritage. When her family decides to spend the summer in the Rocky Mountain town of Grand Lake, Colorado, she prepares herself for a summer of boredom. Instead, she encounters strange and frightening events around the lake when she meets and falls for a boy descended from a rival tribe, a tribe blamed for the untimely death of April's great-great-great-great grandmother. My husband and I own a small cabin in Grand Lake and I wrote much of the novel there. The manuscript was awarded first place in the Pikes Peak Writers Paul Gillette Contest and was a finalist in the Rocky Mountain Fiction Writers Colorado Gold Contest. Unfortunately, now that I'm ready to start sending it out, I'm worried that almost anything from unproven authors will be denied in this terrible economic time. I'm struggling with whether to hold the manuscript until the economy looks brighter, or take my chances and send it out, knowing I could be burning some bridges if my fears are valid.

To write what you know...or not?

2008-09-23T10:49:00.000-07:00

Wow -- I can't believe it's already fall. I recently read a blurb emailed to me by one of my critique group members. It's on "writing demotivators" in the form of word definitions for writers. The one that applies most to me right now is the definition of Writing: the recording of life as it passes you by. (For more demotivators, check out http://101reasonstostopwriting.com/demotivators/ ) But instead of recording, I was immersed in revisions of two middle grade novels. Still, I couldn't help but lift my eyes from my manuscripts long enough to observe the world around me. This summer, life was filled with story ideas--happy, interesting and tragic--the breathtaking summer olympics, two horrific hurricanes, a mindboggling presidential (and vice presidential) campaign, and a heart-stopping economic crisis. If you're having trouble coming up with story ideas, stop and smell the roses, or manure, depending on the story you want to write.

The whole topic of finding story ideas is fascinating. The exotic topics I mentioned above are enticing, but are they really accessible to writers still trying to get their feet wet? I've found that the old adage "write what you know" is still a good idea for beginner writers. Once you have the craft down, then it might be fun to venture into unknown waters. I don't mean limit yourself to telling your own story in your own town and in your own neighborhood. There's a ton of information on other environments in travel books and on the internet. And creative minds can build incredible universes for fantasy novels. But when it comes to describing emotions, reactions and even the five senses, I've found that it's easier to do if you can draw upon your own experiences.

In my most recent middle grade novel, DON'T LOOK BACK, my setting is a fictional town in western Kansas (I've been through Kansas, but never lived there. I relied a lot on articles and travel guides.) The protagonist is a twelve year old girl on probation for stealing. I spent fifteen years as a researcher in youth corrections and I know a lot about the system. I've also visited numerous juvenile detention centers and talked with the kids. Another main character is an elderly man with failing eyesight. My father had macular degeneration and before he died (which prompted another emotion I'm painfully familiar with) we discussed it--what he can and can't see, what's hard, what he can't do anymore, etc. I incorporated real experiences and emotions in writing the book. Sometimes they made we laugh, other times they made me cry, because they were real. Reliving them through writing can be difficult, but if you're putting your characters in difficult situations, they need to have real reactions to them. What better resource than your own experiences?

Now, that said, I'm dying to delve into an exotic topic, like swimming for nine gold medals in the next Olympics, but that's a topic for another blog.

The short synopses

2008-05-15T09:56:00.000-07:00

The last few weeks have been a whirlwind with trips to Arizona and Cancun, and a weekend in Colorado Springs to attend the 2008 Pikes Peak Writers Conference. The trips away were both fun and restful, and I think these breaks from writing help stir the creative juices when you return. The PPW conference was fabulous, as always, with a good mix of speakers and hands-on writing exercises. Carol Berg, Vicki Lewis Thompson and David Liss all gave wonderful keynote presentations. I love the mix with agents and editors during meals. Few conferences that I've attended give you the opportunity for these social encounters. I pitched to Cecile Goyette and was fortunate to sit next to her at dinner Saturday night. She's direct and helpful during the pitch, and delightful and fun socially. She said I could send her a few chapters of my manuscript as well as a one page synopsis, leaving me with two strong suggestions: 1) make sure the first 3 pages of the manuscript are tight and make we want to keep reading, and 2) don't leave me hanging in the synopsis. I want to know how it ends.

I think the vast majority of agents and editors would agree with Cecile. The one-page synopsis is tricky to write. I believe the key is to think general, the way you have to do when you write your log line. In fact, to me it's almost an extension of the log line, leaving out many secondary characters, subplots and situations you'd love to include because they involve your favorite scene or scenes. It's tempting for beginning writers to leave out the ending, hoping it will make the reader want to read the whole manuscript, but as Cecile indicated, it doesn't work that way in synopses. Don't leave them hanging!

Big Sur Children's Writers Workshop

2007-12-04T12:58:00.000-08:00

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

2007-10-21T09:21:00.001-07:00

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

2007-09-29T15:31:00.000-07:00

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

2007-08-10T16:09:00.000-07:00

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

2007-07-19T11:03:00.000-07:00

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

2007-05-29T12:57:00.000-07:00

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

2007-04-25T15:16:00.000-07:00

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

2007-04-13T07:58:00.000-07:00

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.

2007-04-06T12:06:00.000-07:00

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

2007-04-05T13:25:00.000-07:00

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.