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If you smell your books. If your soul settles in Barnes & Noble. If you obsess over similes. If you're a published oldtimer or aspiring author, like me…I'd like to be your friend. In that first-grade kind of way. Trudging the road to publication is easier with friends! Welcome to GOTTAWRITE GIRL, adventures in children's writing and the trudge to publication.
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Number of Readers that added this blog to their MyJacketFlap: 6
Lovely Tabitha Olson of Writer Musings "tagged" me! Before my last two posts featuring dynamic author Devon Ellington, I will attend to this:
*Tagged bloggers post answers on their blogs & replace questions as they wish.
*Tagged bloggers state who they were tagged by & cannot tag the person whom they were tagged by.
1. What do you do before bedtime? I blog and otherwise putter on the net while my husband watches the golf channel, which makes for a very soothing background.
2. What is your favorite sound? Summertime crickets. Ahhhh.
3. What were your childhood fears? Wolves and being a bag lady.
4. What place have you visited that you can't forget and want to go back? Copenhagen. Love it. Ice cream-colored row houses, the bronze"Little Mermaid"
sculpture in the harbor (modeled after native Hans Christen Anderson's fairy tale),
Tivoli Gardens, street artists, haagen daz shops at every turn, and a jewel box of an opera house. L-o-v-e.
5. What has made you unhappy these days? I can always dish about the metro. Lately? Two metro parking tickets, two days in a row. And the hair-greased window panes... Some of those smudges are thick as Crisco. Why? Who? Clean yourself up!
6. What websites do you visit daily? I eat lunch in my cubicle, while reading my GwG links,
Rotten Tomatoes, and
IMDB.
7. What kind of person do you think the person who tagged you is? Tabitha. I'm new on the scene, unpublished and somewhat floundering. Tabitha warmly welcomed me and continues to stay in touch. Very generous! And she helms a heckofa blog and website. They are extremely informative, fun, and reader friendly.
8. What’s the last song that got stuck in your head? Elton John's "Someone Saved My Life Tonight." Who's Sugar Bear? What did s/he save Elton from? Murky, dark and perfectly-cheezed drama.
9. What’s your favorite item of clothing? Used to be my red cowboy boots from Barney's that cost two months rent. But I lost them. And that kills me.
10. What is your dream for the future? To publish my first YA novel. To become more comfortable in my skin.
We interrupt our regularly scheduled weekend program...for a game of blogger tag, posting tomorrow!
Daring, Dynamic Devon Ellington, continued...
GwG: What was it like, working behind the curtain on Broadway? How has it influenced your writing? Devon: Working with actors helped me in creating characters and cadence. We all have individual speech rhythms. Actors layer the character's rhythms over their own, so it’s even more textured. This helps me create fictional characters with real-life physicality. I also observe more. When I do interviews, for example, I’m extremely aware of body language.
GwG: About blogging. To "have a friend, be a friend." And, what bugs you?Devon: To me, blogging is like morning coffee with friends and colleagues. I write my first 1,000 words of the day. I blog, I read other blogs. We stimulate each other, we brainstorm. I enjoy sharing intelligent discussion.
Several things drive me crazy with blogs, and then I just don’t go back. I don’t like poor writing, spelling or grammar. You’re writing something for the public – if you don’t care enough to write it well, why should I read it? I also hate deliberate cruelty; people who attack without doing their research.
When blogs block commenting or make you jump through hoops, it’s not worth my time. I also hate blogs that aim to get my money. Sure, they’re a marketing tool. And if I like an artist's blog, I’ll support their work. But if everything is branding, merchandising – ick. Buh-bye.
GwG: Teaching. Mentoring. Fill us in. Devon: I hope I'll always mentor writers. We’re not in competition, no matter what the marketing drones make us think. There's an insatiable need for stories, and we artists are in this together.
I am a hard task master, though. I expect the mentorees to sit down and do the work. I don’t care if your kid's sick or your husband’s whining. Get those pages done. I care in human terms, but that time could be spent on my own writing. Excuses are not accepted.
Again: How badly do you want this? Again: If writing keeps moving down the list, you don’t want it badly enough to be a full-time writer.
Mentors and teachers have to set boundaries. Published writers do not “owe” it to unpublished writers to introduce them to agents or pimp their work. Unpublished writers need to earn it. There’s an appropriate time and place for mentoring, and the writer’s own work comes first.
GwG: Are you flexible about the future? Devon: You mean if something I write turns into a cash cow? Will I have the guts to leave it? I hope so! Every piece of work helps us grow and change. I’ve certainly grown away from certain publications or writing clients who don’t pay enough to make my time worthwhile. It's not a case of “I’m too good for this”, because, trust me, honey, you’re NOT. But it needs to be “does this help me grow and stretch, or am I just cashing the check?”
Daring, Dynamic Devon Ellington, continued...
GwG: Literary agent or fly solo?
Devon: I’m working with a good lawyer now. I’m The Contract Demon from Hell, a union negotiator, so I can negotiate a lot of my own stuff. I’m on good terms with several agents, and when I have something that suits one of them, I send a query. Right now, I’m happier working on my own. I’m open to working with an agent; I am not obsessed with it. When the time and project are right, it will come together.
GwG: Are you a former cube-dweller? How did you take charge of your writing life and escape writing on the side?Devon: No. I have worked in the arts my entire professional life. There have been times when I’ve worked as a temp in an office between shows, but I made a commitment to myself that I would not be trapped and perform my art “on the side.” I ran dual careers for a long time, but I don’t think of theatre as a “day job.” The closest thing to being a cubicle dweller was working in a publishing company for three years. I learned a lot about publishing, but I was a lousy office worker.
How did I do it? I didn’t make any excuses. I went out there and worked my butt off, gave up a lot of what’s considered normal (and don’t regret it) and refused to settle.
People who blame their spouses and families for not writing just get on my last nerve. If your spouse makes fun of your dreams and ambitions instead of supporting them, you’re with the wrong person.
GwG: Best and worst risks taken in your writing life...Best risk: Taking my shows to Edinburgh and to Australia. The pace and stress and everything nearly killed me, but it was worth it.
Worst risk: Not removing toxic people from my life quickly enough.
GwG: I barely balance my job, blog and freelancing. For you, yoga trumps. How do you triage otherwise?Balancing writing and theatre has always been hard. Balancing writing and temp work never was, because the writing must always come first. I am a writer who took on a temp jobs when needed to pay the bills. I was not an office worker who wrote on the side. Priorities, it’s all about priorities.
If you’re going to survive as a writer, the most important skill you can learn is time management. We all have the same 24 hours. What’s important to you? If the writing keeps falling farther and farther down the list, you don’t want it badly enough. It’s fine, there’s nothing wrong with the choice, but you’re either a writer who writes, or you’re not.
Yoga helps keep me sane (well, saner) and healthy. The older I get, the more fitness becomes a priority. When I did eight show per week, that kept me fit. Now I’m wondering if I need to take up running!
Daring, Dynamic Devon Ellington, continued...
GwG: You’ve said that you "make sense of the world through words."
I’m paraphrasing
Virginia Woolf. Nothing makes sense until she writes about it in her diary. That’s the way I feel. If something bothers me and I transform it into fiction, then I can truly make sense of it, explore it, and make informed choices.
GwG: What has your trudge to publication been like? Has it changed since your first book?Devon: It’s not really changed. Write; rewrite until you’re sick of it; have trusted readers comment; rewrite more; prepare your logline, one paragraph summary, outline, synopsis, and sample chapters before you start querying, but after you’ve finished your book; research to find the best matches for your piece; send it out; and if it’s rejected, send it immediately to the next on the list.
Don’t shoot yourself in the foot by not doing your research ahead of time. Don’t think you’ll be taken seriously if you query too early and the material’s not ready for market.
The only thing that’s changed about the trudge is that publishers pay less and make you work more – not only regarding marketing, but also with writing faster. The more you learn of the craft, the easier it is to streamline and juggle projects.
GwG: What are you writing now?Devon: I’ve started writing the third Jain Lazarus adventure and "The Balthazaar Treasure," which follows "Tracking Medusa," a novel out on submission. I’m working on a short story with the "Hex Breaker characters," and the next “Merry’s Dalliance” story. I’m also adapting "Angel Hunt" from serial to novel format. Plus, juggling the
business writing.
GwG: Tell us about your editing process and the “Trusted Readers.” Devon: By about the fourth draft, I need another perspective. I have what I call “Trusted Readers." Some are writers, some are voracious readers. They understand my work and want it to be the clearest it can be. They also catch my bad habits. The Trusted Readers don’t have personal agendas in connection with the work – they just genuinely like it. Just like I do, when I'm someone’s Trusted Reader.
It's also vitally important that one’s family and romantic partners
not read the work in draft form. Drafts are too delicate to be shared with someone with whom you are emotionally invested.
And, I’m against posting drafts online. If it’s published and you post an excerpt, that’s one thing. But to post a first draft on a blog and ask for comments? Not only have you blown first rights, why would you want strangers seeing unfinished work?
GwG: Do you plot your novels in advance, and how? Do you specifically follow a story arc? Do you allow yourself to deviate?
Devon: The more I publish, the more I’ve switched from being a blank-pager to a plotter. A lot of that has to do with time management. I don’t have the time to sit in front of a blank page for days. When I sit down at the page, I have to be ready to write. Plotting in advance helps. I always stray, usually because a character wanders in and takes over. I trust the characters far more than I trust any hard-and-fast outlines…
to be continued…
Friends, settle in. We've gotta wholelotta Devon coming our way. Stay tuned for several days of questions & answers from my new, prolific friend...
The daring, dynamic and unapologetic Devon Ellington publishes under a half a dozen names in both fiction and non-fiction. Her work appears in Espresso Fiction
Her books? Firedrakes Weyr released her novella, Hex Breaker, in August. New Myths just published "The Merry's Dalliance," a pirate fantasy tale. And her e-booklets "5 in 10: Create 5 Short Stories in 10 Weeks" and "Rituals for Writers" sell on Payloadz. 
GwG: In what genre and capacity did your writing begin? And, how did it evolve?Devon: I started writing as a child, short stories for school-based magazines. I was always re-writing, in my head, television shows because the female characters didn’t get to do the fun stuff!
I had wanted to be a reporter, so in high school I wrote for both the school and local papers. When I saw my first Broadway show at age 12, I also knew I wanted to be involved in theatre. I started writing plays and short stories, and it evolved from there.
I didn’t say that ‘someday’ I wanted to write – I put my butt in the chair and I wrote. If it was a play, I figured out a way to get it produced. If it was a story, I kept sending it out until I found the right market. Persistence and commitment are the keys to evolving as a writer, as much as talent.
GwG: How have you kept a loyal audience across genres?
Devon: I’m learning how to keep and grow my audience. I’m not a particularly brilliant marketing person, although I’m learning. I’m fortunate, because most of my audience jumps with me from genre to genre. That doesn’t mean everything I try works, or that everyone likes everything I try, but they’re interested in seeing me stretch in different directions.
The blog helps with that – my audience reads about the genesis of a project through to the finished version. They’re with me on the journey; they’re involved. When it’s appropriate, I cross-market the names, letting people know what the different names are and that, yes, it’s me, come play. Sometimes, it’s not appropriate, so I keep the name very separate and market it separately.
I don’t like to be locked into anything, and I don’t think creative marketing people are hired for authors early enough in their careers. The publishers are hiring the wrong people, or they’re not allowing those people to do their best work – I’m sure it’s a combination. They want everything to be “niche” and “branded” when, in reality, good writers are capable of variety. Only in this line of work is the writer punished for being unique, instead of the marketing person for not being creative enough.
GwG: What form of writing is closest to your heart?Devon: Whatever I’m working on at the moment! Seriously, I like to move around. I’m writing mythological fantasy right now, which I love, and I also adore the mystery genre. You can put social and political commentary into both genres, help people see the world differently, and create positive change in a way that’s more palatable than standing on a soap box.
GwG: I bet you smell your book, like me. What drives you to be such an inexhaustible writer?
Devon: I’m a bibliophile, and I love the smell of bookstores and libraries. I love the smell of wet ink on paper. I love the smell of a brand new book the first time you open it. I love the slightly musty smell of a used bookstore. Reading a book is a sensual experience. It’s very intimate between reader and writer.
What drives me? Writing is like breathing to me. I can’t “not” do it. Characters start telling me their stories and they won’t shut up until I put them on paper! Seriously, it can get very crowded in my head!
GwG: You don't have "the luxury of writer's block." There's that take charge-ness again, which I so admire. What are your counter-tactics?Devon: Choose breaks, don’t just let days slip by without writing. If you’re struggling, give yourself a planned “hiatus” where you’re not
allowed to write, so the creative well can refill. Go do something else. Read. I find paintings a wonderful way to replenish the creative well. If I feel stuck, or that I’ve written myself into a corner, I go to a museum and I look at paintings...
to be continued...
As promised last Friday, I now present the less palatable portion of Harold's critique: In general, with all three stories, you do better at setting up a situation than resolving it.
This is where Jack Bickham's
Scene & Structure comes in. It finally arrived in the mail. And it's dreamily detailed. The following is from the first chapter, "The Structure of Modern Fiction:"
"Start your story at the time of a change that threatens your character's self-concept...
[Then] show your character coming up with a vital intention or goal, designed to "fix things" for him in terms of his sensation of being out of equilibrium with his environment. Every good character is thus goal-driven...
So the story starts with change, which leads to a goal, which raises a story question in the reader's mind.
... You end the novel by answering the story question you posed at the outset...
And does it have to be a happy ending? By no means. It has to be a fitting ending-an ending that answers the story question."
And before wrapping up today's post, and in honor of the upcoming Cheerios contest notification, I'd like to note the
Writer's Digest 9th Annual Short Story Competition. Send them your best, in 1,500 words or fewer! Click
here for the nitty gritty.
*Deadline: December 1, 2008. Notification is Feb. 13, 2009.
*$12 per manuscript. Multiple entries are fine.
*Lovely prizes: 1st place, $3,000; 2nd place, $1,500; 3rd place, $500; 4th - 10th place, $100; 11th - 25th place, $50 gift certificates.
*Winners' names will appear in the May/June 2009 issue of
Writer's Digest magazine, and names/ story titles will post on the website.
Back on Monday!
The winner-notification date for the Cheerios Spoonfuls of Stories contest looms. Only eleven days to go. Why my pang of apprehension? Because I just received Harold Underdown's critique of the story I entered (the timing couldn't be helped). The man behind the Purple Crayon weighed in. It was a bittersweet review.
But let me begin with several morsels of good news. First, Harold is kind, funny and just plain great at his job. Even children's and YA author
Cynthia Leitich Smith sings his praises. That's Cynthia of the
Cynsations blog, which sets the blogging bar. I email with her occasionally, as star-struck and sponge-like aspiring authors do. Long ago, she also benefited from Harold's exacting eye.
Second, and most important, he will interview for GwG. True encouragement in action. I emailed Harold my questions over the weekend. We'll just have to wait until his alvalanching schedule slows.
Third, his critique was hard-hitting, no question. But his humor honey coats the medicine. And he even touched on a positive. Glory be. Behold my new, favorite snippet of the written word:
"I want you to know to start with that you have two strengths that will help you as you work on picture books: you don't waste words; and you put the reader right in the moment with action and dialogue."
I know. I know it's not much. But it's enough to keep this choo-choo train chugging.
That was the good. The bad and ugly? That's for Monday.
We answer!
Clarion Books, an imprint of the
Houghton Mifflin Company, publishes picture books, nonfiction, and fiction for infants through grade 12... fifty new hardcover titles each year, to be exact.
In
fiction, the editors are seeking lively stories for ages 8-12, ages 10-14, and ages 12 and up. Editors are also seeking
transitional chapter books of 12-20 ms pages for ages 6-9, and
short novels of 40-80 ms pages for ages 7-10. Novels must be superlatively written to find a place on the list. Send complete ms.
In
picture books, editors are looking for active picture book stories with a beginning, middle, and end; stories that deal fully and honestly with children’s emotions. Avoid verse unless you are a professional poet. No query letters needed for pb submissions.
In
nonfiction, the editors are interested in social studies, science, concept, word play, holiday, historical, and biography ideas for all age levels. Send a query letter with sample chapters for all nonfiction.
Clarion changed their submission guidelines, due to the number of unsolicited submissions, so please respond accordingly.
Do not include a self-addressed stamped envelope. Submissions will be recycled, and you will not hear back unless they are interested. Send manuscripts by conventional mail, only. Send typed,
double-spaced ms on unfolded, plain white paper in a 9x12 envelope. Period. No hand-writing, emails, disks, e-files…you get the drift. Address submissions to Editor Lynne Polvino, Clarion Books, 215 Park Avenue South, New York, NY 10003.
Then pray, keep writing, and repeat.
By:
Susan Gray,
on 9/3/2008
Blog:
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Presenting a snapshot of aspiring author and fellow trudger on the road to publication, Richie Frieman... writer, illustrator, creator of the online magazine, Pen's Eye View, and new father, to boot. It's sure to be a bustling Fall for this up-and- comer.
GwG: How did you become interested in children's literature?Richie: I have vivid memories of writing and sketching children’s stories as far back as elementary school. And I majored in art at the
University of Maryland. I painted, sketched, learned graphic design, and gained confidence by being surrounded by others who love art.
GwG: You self-published your picture book, Terple. Why did you go this route, and what has the trudge to traditional publication been like, as a result? Richie: I self-published so I could showcase a hard-copy version. “Terple” sells online at
Amazon,
Target,
Barnes & Noble, and locally in Baltimore at
Greetings & Readings. I did a book reading and signing there, and arranged for newspaper coverage, too. I felt like a true author and was completely hooked. That said, the "trudge" has been terrible! I have no agent, and I've received endless rejections. I’ve taken chances and made many mistakes. I've tried everything from disguising my voice and acting as my own agent, to hand-delivering manuscripts myself. But I have to stay positive. Even
Harry Potter filled many a trash can before it was picked up.
GwG: What are writing now, and what's the submission strategy?Richie: I am currently writing two more “Terple” picture books and will next attempt a YA book in the tradition of the
Gossip Girl series, or
French Kiss. That may seem odd for a 29 year old male, but I appreciate the humor. I plan to 1) Only query agents who represent similar titles. 2) Obey the submission guidelines. 3) Call to reconfirm they accept new material.
GwG: As an aspiring author, how do you network?Richie: I network aggressively, attend
SCBWI conferences, and I believe in my work. You are your best salesman!
GwG: How do you review your work?
Richie: I joined a critique group, which is helpful.
Shel Silverstein said that "If you're creative person, you should just go about your business, do your work, and not care about how it’s received. I never read reviews because if you believe the good ones you have to believe the bad ones, too."
GwG: Has fatherhood changed your writing process or perspective?
Richie: Fatherhood is fantastic! Too great to describe. It hasn't changed my writing process much. I write any time, any place, on anything. Post-Its are my best friend. I once wrote some verse on my daughter’s diaper - it was clean at the time! But that's my writing style. It comes to me, and I have to get it down before I forget. I most want my daughter to know the importance and enjoyment of reading. I have ADHD. Reading a book used to be paramount to swimming across the ocean. I don't want my daughter to miss out in that way.
GwG: Tell us about your online magazine, Pen's Eye View. How do you balance writing and maintaining the site?Richie: PensEyeView.com is an Internet magazine that features artist and musician interviews every 48 hours. Since going live, we've never missed a day. I plan to keep it growing. As with writing, you can't give up! I just have to make time for everything and hope for the best… always hope for the best.
Hello, friends! Welcome back from your labor-free weekend. I want to throw out a wild card for discussion. Plot.
Carol Saller, former Acquisitions Editor at Cricket Books, says weak plots "are often episodic: just one trial after another until some contrivance ends the quest."
That's me. This Susan is desperately seeking satisfying endings. My three PB manuscripts lack finales that go boom. Every critique confirms this. Even my college poetry lacked a thesis-type cohesion.
I'm ready to write a YA novel, save one thing. I've got plenty of trees, but no forest. I must understand before I begin.
And one more wild card for your consideration, from Steven King's On Writing:
You may wonder where plot is in all this. The answer - my answer, anyway - is nowhere... I [plot] as infrequently as possible. I distrust plot for two 
reasons: first, because our lives are largely plotless...and second, because I believe plotting and the spontaneity of real creation aren't compatible.
So. Jack Bickham's Scene and Structure is in the mail, per agent Linda Pratt's recommendation. Until then, I'd much appreciate your experience.
Wishing everyone barbecues and happy muses...Back on Tuesday!
Presenting "Strategies for Growing a Tougher Skin," from our friend, Edie Hemingway. GwG: Rejections are unavoidable. Have you ever doubted yourself and your abilities? What comforts you?
Edie: Yes, of course I have doubted myself and my ability to produce new work! Sometimes I think it's even harder once you've been successful with a first book. There's a tendency to think you can never do it again, and sometimes it's easier not to try. My suggestion is to keep writing in short spurts that don't seem so overwhelming, and to write just for yourself, so you're not always trying to please someone else. Little by little you'll regain your confidence. Another suggestion is to read widely in your genre. The best writers are also avid readers!
• Realize from the start that it’s impossible to please everyone.
o Decide who your audience is and focus on pleasing them.
o Please yourself.
• Realize you are not alone in your vulnerability. Even a seasoned, professional author has problems with rejection—sometimes more.
• Realize you’ll never reach the point where you know it all and have perfected your writing skills.
o Keep striving to improve.
o Quote from
David Gerrold in his
Worlds of Wonder. “Your first million words are just practice. You practice finishing stories, practice polishing them, and practice sending them out for publication. If an editor is interested in one of your finished pieces, you practice signing the contract, and practice taking the check to the bank. When it gets published, if it wins an award, you practice going up to the podium. You accept the award with a ‘thank you’ (more would be embarrassing). Only when you have passed that million-word mark should you begin to take yourself seriously.”
o Be open to new ideas and suggestions for expanding your style and interests.
o Don’t be afraid to go with your gut feelings.
• Find a writing partner (you trust) with whom you can share your work.
o Someone on a fairly equal level, or better yet, who has the opposite strengths and weaknesses from yours.
o Be willing to read and comment for your partner in return.
o Be honest and expect honesty.
o Be able to laugh at yourself.
o Don’t over-extend yourself by offering to read for too many people OR by asking too many people to read your unfinished work.
• Follow guidelines when critiquing other peoples’ work and always start with positive comments. When making constructive suggestions, be as specific as possible. Expect the same thing in return. Just saying “this is great” or “this is terrible” doesn’t help.
• If you disagree strongly with some suggestions you’ve been given, it’s your right not to make the change. However, if you hear the same thing from a number of readers, then it’s probably worth considering.
• Don’t fall into the trap of arguing.
• Make your work as professional as possible
o Take classes and workshops, go to conferences, join organizations, subscribe to magazines and newsletters, schmooze, etc.
o Never submit a first draft. Make sure you’ve made your manuscript the best you can before putting yourself in a vulnerable position.
o Take advantage of having editors or agents critique your work at conferences.
• Reduce your chances of rejection by researching publishers before submitting.
o Don’t send a mystery novel to a picture book publisher.
o Follow submission guidelines exactly.
o Read widely in your genre and stay current with changing trends.
o Double check the publisher’s website before submitting to be sure you have correct submission guidelines and current names of editors.
• Keep hope alive by always having more than one submission out there…
• Have faith in your own work!
• Persevere, persevere, persevere…
Edie Hemingway is very kind. And very published. She happily shares wise, writerly advice. And, if you recall, Edie saved me from lunching alone at my recent
SCBWI conference, after my ghastly critique. Tomorrow, I'll post her advice for weathering repeated rejection. But for now, meditate on her triumphant trudge to publication.
GwG: What was the trudge to publication like for your first novel, Broken Drum? Edie: Broken Drum was my first experience at collaboration with another author. Our inspiration was a faded photograph of Charley King, a 12-year-old Civil War drummer boy in the Union Army. As mothers ourselves, Jackie and I couldn't imagine allowing our 12-year-old sons to go off to war, so we thought he must have been a runaway or an orphan. That's what catapulted us into our research process.
The writing of the book took us 5 years, mostly because we each led such busy separate lives and made a commitment to each other that we could research on our own, but we would not write separately. The hardest part was working through different ideas and visions for the voice of a single character. The process involved lots of compromise and constant editing, which I'm sure improved the book in the long run.
Our biggest break came from meeting with an editor at a SCBWI conference in PA. She read two different sections we had each paid extra to have critiqued and ended up sitting down with us both for an hour and a half! She liked our story, but pointed out a major flaw, which we later went back to correct. Ultimately, that editor rejected the manuscript because she had recently signed a contract for another Civil War novel, but we only submitted to a few other publishers before being offered a contract.
GwG: How did the trudge to publication change for your second novel, Rebel Hart? Edie: Our second novel, Rebel Hart, was easier and faster to write because our editor had asked us for a second book. We knew we had a buyer and an audience, and, thus, more of an incentive to keep working. We still had the same ups and downs with the collaboration process.
GwG: In being a co-author with your friend Jacqueline Shields, how did the research and writing process divide up? What are the challenges and benefits of collaborating?
Edie: Collaboration in fiction is a complicated relationship. I think writing nonfiction lends itself better to collaboration. One person may do the research and the other person may do the actual writing. Or, some authors alternate writing chapters. However, in fiction it's necessary to have a single, consistent voice for both the authors and the main character. It's necessary to be completely truthful with each other and to use only what you both agree upon.
Benefits include the companionship, since writing is generally a solitary effort, two minds coming up with ideas, and the constant editing required (which tends to improve the final product). The biggest challenge is "sharing" the book, which is almost like sharing a child. My family tends to think of it as "my" book, and Jackie's family tends to think of it as "her" book. And of course there's the fact that you have to split any income 50/50!
GwG: What did you enroll in Spalding University's Master of Fine Arts in Writing degree (MFA) program? Would you enroll again?Edie: My choice to pursue a MFA was largely triggered by the job I had at the time and the suggestion by my supervisor that I begin work on a masters degree. Since the community college (my employer) wanted me to have a graduate degree, but not necessarily in a job-related field, I chose to pursue further education in the field of my greatest interest--writing. My choice of a brief residency MFA degree at Spalding University proved to be perfect for me. I went into it with the hope of improving my writing skills and soaking up every experience and bit of information I could!
Along the way, I discovered a new area of interest--that of teaching creative writing. I also made wonderful connections in the literary world and began some lasting friendships. Yes, I would enroll again. The only thing I'd do differently is choose to study a different genre (such as creative nonfiction) for a semester, just to widen my experience and exposure to other authors.
GwG: What are your plans for your unpublished, first works mentioned in the “about me” section of your website? Edie: I did have an agent for that novel for a time way back in the 1980s, but was disappointed when the agent never really sent it out. (I think she was a beginner, too.) Anyway, that novel is still on my shelf. At this point, it would require lots of revision, since my writing skills have improved significantly since then. However, I have used scenes from that first novel in my most recent novel, Road to Tater Hill, which is under contract with Delacorte Press, an imprint of Random House, and due out in fall of 2009.
GwG: What are the 3 smartest actions aspiring authors can take?
Edie: 1) Write on a steady basis. Keep journals, notebooks with ideas, character sketches of people, etc. to be used as an archive of story ideas;
2) Make connections with other writers at conferences, through classes and workshops, critique groups, etc.; and
3) Perfect and respect the process of revision. Never submit a first draft!
GwG: In running your Misty Hill workshops and mentoring aspiring authors, what's the most common mistake you see in beginner’s writing?
Edie: I think the most common mistake is submitting a manuscript too soon and, thus, setting yourself up for rejection. Many aspiring writers are not patient enough and are not aware of the many layers of revision.
GwG: What are you working on now? And what are your hopes for the future of your writing career? Edie: I have great hopes for the future of my writing career as a result of my most recent contract. Road to Tater Hill (which began as the creative thesis for my MFA degree) has now been through two complete revisions under the guiding hand of my editor and has now gone into production. I'm looking forward to seeing the cover art and an Advance Reader Copy (ARC) within the next month or so. Now I am moving ahead with my next story, which is set on the Island of Vinalhaven off the coast of Maine. My husband and I are spending a week in a cottage there in September, while I research and begin the actual writing process.
In big and unsurprising news, Oprah's wildly popular Book Club just churned out a new Kid's Reading List. I suspect children's writers everywhere are restless at the prospect.
You may recall, children's entertainment isn't a first for Oprah. In 2006, Oprah joined with Julia Roberts to create her first feature kid's film, an adaptation of
E.B. White's classic,
Charlotte's Web.
One of Oprah's favorite authors and spiritual leaders,
Eckhart Tolle, is also trying the children's market. According to Amazon's editorial review,
Milton's Secret: An Adventure of Discovery through Then, When, and the Power of Now, is "the
charming story of Milton, a bright, cheerful boy, who learns to overcome his fear of bullies...and live simply and happily in
the moment." Look for it October 31, 2008.
Remember, any published work under your belt is a feather in your cap! It's easy to become exclusively entranced by writing your next book-length story. For lots of us, it's a lifelong dream. But along the way, pursuing magazine publication is only practical. It means extra money towards your next expensive writing conference. What's more, it means a publishing credit for your next query letter...
So get that critique buddy on the horn, polish up those magazine pieces and send 'em out! Your book-in-process will only benefit from the clarity that comes from putting it aside.
Here's a head start from the editors of
Highlights, who currently need of the following:
*Fiction for younger readers (ages 4-8): To 500 words. Funny, folktales, holiday. Send to Marileta Robinson, Senior Editor.
*Fiction for older readers (ages 8-12): To 800 words. Holiday, funny, adventure, historical fiction about lesser-covered time periods, multicultural. Send to Joelle Dujardin, Associate Editor.
*Verse: All types needed. Holiday - particularly Easter, but not about 'Spring', and verse appealing to boys in particular. Send to Joelle Dujardin, Associate Editor.
*Nonfiction for younger readers (ages 4-8): To 500 words. First person accounts of fieldwork, photo-essays, high-interest animals, nature, urban life, kids living in different cultures, the arts. Send to Joelle Dujardin, Associate Editor.
*Economics and Personal Finance: To 800 words. Written to a child's level of understanding. Send to Linda Rose, Assistant Editor.
*Gallant Kids: To 400 words. Profiles of children helping their communities. Hands-on projects proffered over fundraisers. Unique projects generated and led by kids. Send to Tiffany Hoffman, Editorial Assistant.
*Science: Two-page features, 800 words. One-page features, 400 words. Activities, 50 words. Kids involved in science, scientists studying high-interest animals in different habitats, short and fun science activities. Send to Andy Boyles, Science Editor.
*History and World Cultures: To 800 words. Fun, funny articles about presidents other than Washington or Lincoln, American holidays, personal looks at life in other countries. Send to Carolyn Yoder, Senior Editor.
*Payment varies...(but at least it exists).
Linda Pratt, literary agent from the
Sheldon Fogelman Agency, gave the closing talk at my recent
SCBWI conference: "The Little Engine that Could: Career Lessons for Authors & Illustrators of Children's Books." Linda touched on children's book genres and offered practical strategies from her experience.
*Picture Books: The text and illustrations must be
mutually dependent. If you can read the story without the pictures, it's not a picture book. Text should be straightforward, i.e., "Martha is mean."
*Chapter Readers: Are aimed at newly independent readers, aged 6-9. The movement less picture driven and more plot driven. Text is more layered, i.e., "I don't like Martha because she stole my best friend."
*Middle Grade and Young Adult: Text is emotionally complex, and must have strong plot so as not to become too internal. The biggest challenge is to write in a genuinely-aged voice.
(This is a basic breakdown. Picture books, alone, have several age-specific levels within the genre. If you are an aspiring picture book author, you will want to tailor your writing accordingly. For a more in-depth study of genres, try reading
Understanding Children's Writing Genres, by
Laura Backes, author and publisher of the
Children's Book Insider monthly newsletter.)
Linda suggested
Jack Bickham's Scene and Structure for understanding the mechanics of good story-telling. And she mentioned writing classes by longtime children's author and teacher,
Barbara Bottner.
Now, the good news. Drumroll, please...Following is
Sheldon Folgelman's submission policy, as posted on their website:
The agency specializes in children's books of all genres, from picture books through young adult literature and everything in between. The agency represents both authors and illustrators.
We always welcome submissions, and look forward to adding new people to our client list each year. However, we receive hundreds of submissions, and are very selective in offering representation. We consider each submission carefully, and do our best to respond within 12 weeks.
If you are interested in submitting, please adhere to the following guidelines:
*Send a single page cover letter that includes a brief synopsis of your work, your credentials, and how you were referred to us; if you are querying other agencies simultaneously, mention this in your query letter.
*If you are a novelist, you may include the first three chapters and synopsis.
*If you are a picture book writer, you may include two manuscripts.
*Please include a self-addressed stamped envelope.
*If additional work is requested, we prefer exclusive consideration for one month.
*Unsolicited e-mail cover letters may not be responded to.
Mail submissions to: Sheldon Fogelman Agency, 10 E 40th Street, Suite 3205
New York, NY 10016.
Back on Monday!
At my recent SCBWI conference, we were fortunate to hear author Cynthia Lord. The genuine article. Her debut novel, Rules, won the prestigious Newbery Honor Medal.
That's right. Debut. Newbury. Sigh with me.
She was lovely. And talked at length about honesty. Just like Steven King. Just like the agent who critiqued me. She served us practical tips from the process of writing Rules:
*Write what you know to be emotionally true.
*Write about a time when you felt the same way as your main character.
*Draw from the behavior of people you know. All of the good, all of the bad. See the full spectrum in everyone. Real people are more complex than media personalities or stereotypes.
*
Don't stay true to how things 'really happened' if it means losing your story arc (read more about the
story arc from author and teacher Anastasia Suen).
*Characters should have personal arcs. Cynthia gives her characters opposing, unattractive qualities. Catherine, the protagonist of Rules, is both loyal and judgmental. This makes friction. Dimension. I was just reading author
Rosina Lippi's blog. She attests that "well adjusted people do not make interesting fiction." Right-o! And by incorporating such qualities, Cynthia doesn't feel obliged to protect her characters. She can write their fate as needed for the story.
*Hint at your character's past to provide depth.
*Include
surprising details about sensory experiences. In Rules, Catherine pushes her brother in a wheel chair across a parking lot. So Cynthia pushed a stroller across a parking lot. She anticipated that cracks in the asphalt would be most problematic. But sand was, instead. It was leftover from winter, and it locked the wheels of the stroller. Cynthia never guessed there'd be sand. Unexpected details revive.
While reading On Writing yesterday, I underlined the following in pen. I thought about my manuscript critique. How I strayed from my true experience of being an only child. And how it poisoned the entire story. Enjoy these wise words from Steven King:
What are you going to write about?... Anything at all... as long as you tell the truth.
The dictum in writing class used to be 'write what you know.' Which sounds good, but what if you want to write about starships exploring other planets...?
If you're a plumber, you know plumbing, but that is far from the extent of your knowledge; the heart also knows things, and so does the imagination. Thank God...
Write what you like, then imbue it with life and make it unique by blending in your own personal knowledge of life... If you're a plumber who enjoys science fiction, you might as well consider a novel about a plumber aboard a starship... Sound ludicrous? The late Clifford D. Simak wrote a novel called Cosmic Engineers which does close to just that...
Honesty in story-telling makes up for a great many stylistic faults...but lying is the great unrepairable fault."
T-minus
8 days to complete the Task-That-Must-Be-Conquered.
By:
Susan Gray,
on 8/20/2008
Blog:
GOTTAWRITE GIRL
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I’ve interviewed my new friend,
David E. Goldschmidt, Ph.D., who is the editor-extraordinaire behind
G-revisions: Writing & Editing Services. I stumbled upon his services in the
SCBWI classifieds. I needed a story critiqued and line-edited before submitting it to the
Cheerios Spoonfuls of Stories contest. The deadline lurked. But Dave halted my panic. He turned the story around with days to spare. With precise edits and wise suggestions for tension-building.
GwG: What has your trudge to publication been like?Dave: My trudge (nice word choice!) to publication has been both rewarding and frustrating. I've yet to publish my own children's book, but have found success in the non-fiction markets. It’s often easier to break into print this way. The most frustrating part of the magazine publishing industry is the unpublished sale. I've sold a few stories, but they've yet to be published! The publishing world on the Web is a nice avenue to explore.
GwG: Do you recommend that aspiring authors obtain further education like you did at the Institute of Children's Literature (ICL)? I've heard cases for both yes and no, that the practice of writing is an apprenticeship in itself.Dave: The cost of the ICL program is relatively cheap, even for the "starving artist," so I think aspiring writers should try the program. The ICL manual and assignments thoroughly cover the basics of writing for children. And in a very hands-on way. Many feel that the program is geared toward the magazine market. I agree, and would say that most of your writing assignments can be revised and submitted for publication, which might make the ICL program pay for itself. ICL is also nice on a query or cover letter. The most beneficial aspect of the ICL course was the personal feedback from my instructor,
Helen Hoover, who answered my questions and identified improvement areas. It was not a one-size-fits-all approach.
GwG: You have a strong background in technical applications. How did you become interested in children's writing? How does your background strengthen or challenge your writing?
Dave: I was always an avid reader, starting my first fantasy novel when I was 15. I might never get back and finish this story. As is often the case with a first manuscript, I wrote myself into a corner. But I consider it a practice run!
I have a Ph.D. in Computer Science and currently teach at
The College of Saint Rose in Albany, NY. This gives me a leg up on spelling, grammar, and other writing mechanics. Unlike many writers, I write sparsely. Most writers begin by writing and writing and writing, then revising down to the core. I tend to do the opposite.
GwG: Which are your favorite writing conferences? And how should aspiring authors best take advantage of them?Dave: Certainly the
regional SCBWI conferences are my favorites. They are more informal and inviting. My favorite is the weekend-long
Pocono Mountains Retreat held every spring. The one-day conferences are nice, but they're over too quickly!
My advice to aspiring authors attending such conferences is to take notes, meet everyone you can, and showcase your writing through paid critiques. A key advantage to attending is talking with editors and agents. Most of these folks, even in closed houses, open their doors to manuscript submissions for conference attendees. At the same time, be courteous and professional. I think the biggest mistake I've seen attendees do is over-talk their story ideas with editors. When I attended a recent Pocono retreat, I sat with
Cheryl Klein, Senior Editor at
Arthur A. Levine Books. Rather than bore her with story ideas, I talked with her about day-to-day things. Out of this came a story idea that she liked!
GwG: As a freelance editor, what are the most common mistakes you see regarding theme, structure, or marketability?Dave: I find that writers fear using "said" and "asked". There’s no need for other dialogue tags. And often writers wait until the end of a paragraph to identify who's talking, as in:
YIKES: "She did what? How could she do that, after all we've been through? That's it! My friendship with her is over," Sarah yelled.
BETTER: "She did what?" said Sarah. "How could she do that, after all we've been through? That's it! My friendship with her is over."
GwG: How do you polish your work? Do you belong to a critique group, or have a mentor in the field?Dave: I do belong to a critique group. We met at a
Highlights Foundation Workshop in 2004 and have stayed together online since then. Aside from critiquing, we keep current with each other and meet in person a few times per year. Critiques are invaluable. I also find it helpful to put my manuscript aside and return to it a week later. And reading aloud during the editing process is ideal for catching awkward or incorrect usage.
Meeting
Kim Griswell and
Marileta Robinson at Highlights in 2004, and staying in touch with them since, has been inspirational. And, of course, I have my favorite authors, including
Ursula Le Guin,
Lois Lowry,
Donna Jo Napoli,
Laurie Halse Anderson,
Blue Balliett,
Jane Yolen,
Frank McCourt,
Kate DiCamillo,
Bruce Coville,
Nancy Farmer, as well as classic authors like
Ernest Hemingway,
John Knowles,
Jules Verne,
J.R.R. Tolkien,
and
Ayn Rand, just to name a few! I also have to mention my favorite book on writing, Strunk & White’s
The Elements of Style.
GwG: What are you working on now?
Dave: My claim to fame will be a MG/YA story set in the world of Norse Mythology. As for the details, those are under lock and key!
So many thanks, Dave, and happy trudging!
T-minus 9 days to complete the Task-That-Must-Be-Conquered.
Now, about my spoon-in-the-eye manuscript critique. By spoon-in-the-eye, I mean it was awkward. Painful. Delusion-shattering, too.
It was the bright spot of my first SCBWI conference, until it actually happened. For a small fee, your manuscript is critiqued by a literary agent or editor. For a small fee, you purchase a sliver of face time with someone capable of publishing you. A splendid opportunity.
Fairytale critique stories live on. About editors offering publication. About agents offering representation. At our lunch table, a girl dropped to her knees by author Edie Hemingway. They were good friends; Edie was her mentor. The girl whispered, but her smile screamed. Her critiquer, an editor, suggested edits and concluded with this: I loved the story. Submit it to me, as soon as you revise.
As for me, I had a very lovely agent for my critique. Who very gently murdered my story. I numbly took notes. Shook her hand. Retreated to the parking lot. There was doubling over at the waist. Sweater-blotting mucous and mascara. There even was my husband on the phone. Who said to wash my face and go to lunch. Harumph.
As it was, my delusions needed shattering. Here is what I learned:
- My protagonist is an only child, just like me. But when I strayed from my true experience, the story rang false. I had to recall what it was really like, then revise. For example: I was lonely, even having imaginary friends. Write the truth.
- There was dialogue in the beginning. I thought it was cute. She thought it "unessential." Remove every scrap of writing that doesn't advance your story.
- State the character's central challenge immediately. Mine was two pages in. Picture books have no room for dawdling. It's a tight word count, typically 600-1,500. The story must be equally tight. Each word selected like a gem.
- I had too much description. Illustrations inform the story, not the adjectives.
- My vocabulary was too old. Pinpoint your precise age group. Your word choice and "storyboarding" vary accordingly.
- My story read like an "episode," and she suggested I read more in the genre.
I went to Barnes and bought a mess of books. She was absolutely right. Everything was off. But I didn't understand until I read...Enjoy this helpful article: Writing Picture Books: The Basics, by Margot Finke.
T-minus
10 days to complete the Task-That-Must-Be-Conquered.
The Metro has my beloved copy of On Writing, by Steven King. I was reading, then I was writing. Then I got off the train. A blissful brainstorm for GwG distracted me. I left my book on the cracked pleather seat along with my bookmark, my oldest photo of me and my Mom. We were vacationing. She was my age. And beautiful. Big sunglasses, short white shorts. We stood on a ship deck, crayola-blue water behind us. She held the curly end of my waist-long braid. My jackolantern smile barely fit my face. Pea and a pod. Last Friday was a sad day the personal archives of Susan Gray.
Being cheap, I started my next book, Bird by Bird: Some Instructions on Writing and Life, by Anne Lamott. I was trying to save fifteen dollars. But I was not ready to move on. On Writing is too much a treasure trove to walk away from before finishing. Even for another fifteen dollars. On Satuday, I went to Barnes to repurchase. Bird by Bird will wait its turn.
I will always have two books posted to the right. My metro companions. One children's book and one adult. They are my homework. Must. Keep. Reading. I will post what I learn.
On a second sad note, I will not be attending upcoming SCBWI Midsouth conference. I dissected my bank statement while my husband watched the golf channel. I wanted to meet Harold Underdown there, longtime children's book editor and keeper of the phenominal Purple Crayon website. Instead, my sights are set for the ninth annual Winter conference, in New York City this January.
T-minus 10 days to complete the Task-That-Must-Be-Conquered. Note, today's progress was rocketlike, which is why today's post is late and short. Glory be, the first draft of my nonprofit's Annual Report is nearly done.
Back on Monday!
View Next 8 Posts
Lovely Tabitha Olson of Writer Musings "tagged" me! Before my last two posts featuring dynamic author Devon Ellington, I will attend to this:
4. What place have you visited that you can't forget and want to go back? Copenhagen. Love it. Ice cream-colored row houses, the bronze"Little Mermaid" sculpture in the harbor (modeled after native Hans Christen Anderson's fairy tale), Tivoli Gardens, street artists, haagen daz shops at every turn, and a jewel box of an opera house. L-o-v-e. 
9. What’s your favorite item of clothing? Used to be my red cowboy boots from Barney's that cost two months rent. But I lost them. And that kills me.
These memes are great for getting an insight into people! I'll play along, but it's going to have to wait a little while - I've got a bundle of posts lined up! :-)
Isn't the sound of summertime crickets just wonderful!
Oh, Nicky, what I wouldn't give for a bundle of posts! Have it wait - that is a blessing!
Sad to lose the boots! Hopefully you'll make tons of money and buy us all a pair!
HAH! That would be great!Until then, I will just keep plugging along! Thanks, PJ!
Cool! I'll post my answers soon. Thanks for the tag.
I used to own two pair of cowboy boots - a brown pair and a black pair. I loved my black pair. They fit me perfectly.
Hey, Susan!
Thanks for the tag. I'll get you back ('cause one of my childhood fears was being "It.")
I still have red boots. They have two inch heels. I probably wouldn't have bought them, but I was shopping with my girlfriends.