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.
Monday, March 9, 2009
Thursday, December 11, 2008
SEASHELL SECRETS
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.
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.
Sunday, November 30, 2008
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.
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.
Tuesday, September 23, 2008
To write what you know...or not?
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 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.
Thursday, May 15, 2008
The short synopses
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!
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!
Tuesday, December 4, 2007
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!
Sunday, October 21, 2007
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.
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