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By Cynthia Leitich Smith
for CynsationsSuspense or Manipulation?
by Claudia Mills
from Smack Dab in the Middle. Peek: "Vary chapter endings so that some can offer, e.g., satisfying closure on a scene, or a humorous or serious reflection."Synopsizing Your Way to Success
by Vaughn Roycroft
from Writer Unboxed. Peek: "What I mean is, the words came pouring out, in a way they hadn’t in weeks. Much more so than they would be if I’d plunged in cold, or if I’d started a scene chart."Smarter Not to Rhyme My Picture Book?
by Deborah Halverson
from Dear Editor. Peek: "That’ll give you the read-aloud quality you’re probably aiming for, but without the challenges inherent in trying to tell a story while maneuvering the rules of rhyme."Finding Your Way Into a Story
by April Bradley
from Writers Helping Writers. Peek: "Character is a writer’s lodestone, and we enter our stories in various ways through them: what they want, what they’re doing, how they look, what they think, how they feel."What's Your Character's Hook? Does Your Hero or Heroine Have A Special Skill or Talent?
by Angela Ackerman
from Adventures in YA Publishing. Peek: "What you choose for your character doesn’t have to be mainstream–in fact, sometimes unusual talents add originality (like knowing how to hot wire a car…especially if the character happens to be a high school principal!)"Interview: Mark Gottlieb, Literary Agent at Trident Media,
by Darcy Pattison
from Fiction Notes. Peek: "So it really depends but I try my best to leave creative decision matters ultimately up to the author and/or editor in order to avoid stepping on any toes." See also Top Children's Literary Agents, 2016-2017 (YA, MG, PB)
. Note: based on reported, not total, sales.On Writing the American Familia
by Meg Medina
from The Horn Book. Peek: "That’s an experience familiar to fifty-four million people — seventeen percent of our population — who identify as Latino in the U.S. today. So it’s fair to say that I’m writing about the American family."Got a ‘reluctant reader’? Try poetry, says author Kwame Alexander
by Julie Hakim Azzam from the Pittsburgh Post Gazette. Peek: "Sports, he said, 'is a great metaphor for life,' and a lure to talk about other things such as family and friendships." See also Teen Read Week
by Sylvia Vardell from Poetry for Children.Revise or Give Up?
by Mary Kole
from Kidlit.com. Peek: "If there are weaknesses to your manuscript that you or someone else has identified, or if it’s in a very crowded category (zombies, for example) and you just don’t know if you can make a dent, I would really dig in to the area that needs work."How Your Hero's Past Pain Will Determine His Character Flaws
by Angela Ackerman
from Writers Helping Writers. Peek: "In real life, who we are now is a direct result of our own past, and so in fiction, we need to look at who our story’s cast were before they stepped onto the doorstep of our novel."Thoughts on Stereotypes
by Allie Jane Bruce
from Reading While White. Peek: "The fact that (most) people don’t believe that any one of these stereotypes applies to the entire population of Black women doesn’t mean that they’re not stereotypes."Things Boys Have Asked Me
by Joe Jiménez
from Latinix in Kidlit. Peek: "Sometimes we might even forget they are there. Other times, we let these questions stick to us, like splinters, buried in our hands and feet." Managing Crowds of Characters
from Elizabeth Spann Craig. Peek: "...my tricks this time didn’t seem to work that well, at least for this particular regular reader. As well, I didn’t use as many of my reminder tags/dialogue clues."Character Motivation Thesaurus Entry: Stopping an Event from Happening
by Becca Puglisi from Writers Helping Writers. Peek: "(Inner Motivation): safety and security."Writing a Series: How Much Do We Need to Plan Ahead?
from Jami Gold. Peek: "...for those who write by the seat of their pants or for those who like experimenting with ideas even as plotters, the story of their current book might be a mystery, much less the stories of future releases."Do Your Settings Contain Emotional Value?
by Angela Ackerman
from Writers Helping Writers. Peek: "...even though time has passed, an echo of that old hurt and rejection will affect him while in this restaurant."Windows & Mirrors: Promoting Diverse Books for the Holidays & Beyond
by Judith Rosen from Publishers Weekly. Peek: "Last fall children’s booksellers in the Northern California Children’s Booksellers Alliance and the New England Children’s Booksellers Advisory Council challenged each other to see which region could sell the most diverse books in the weeks leading up to Christmas. This year that challenge is back."Character Rules
by Yamile S. Méndez
from Project Middle Grade Mayhem. Peek: "I've compiled a list of ways in which I can explore my characters' traits to understand their desires, goals, and motivations from which all my stories enfold."Cynsational Giveaways This Week at Cynsations More Personally
Wow! I'm honored that my picture book Jingle Dancer
) is highlighted on the Native American Children's Literature Recommended Reading List and Discussion Guide
from the First Nations Development Institute in Celebration of Native American Heritage Month.
Peek: "First Nations partnered with Debbie Reese, Ph.D. (Nambé Pueblo)
... The idea is to encourage a 'national read' and discussion about these important Native narratives." See also Ten Ways You Can Make a Difference
What else? In the wake of the recent presidential debates, I've been thinking about gender-power dynamics with regard to joint public speaking events.
Male authors frequently interrupt or punctuate female authors' answers with their own opinions. The one male author on a panel will likely say more than his three female co-panelists put together, never mind their efforts to graciously participate or the fact that they don't interrupt him. Moderators too often serve only to reinforce these predispositions.
This is so common
that women children's-YA writers frequently joke about the symbolism of the microphone. It's humor that comes from pain, plus truth, plus a determination to prosper anyway. It's a coping device that shouldn't be necessary.
At this moment in the national dialogue, let's clean our own house and do better in the future.
Are you on Instagram? Find me @cynthialeitichsmith
. See also Instagram for Authors
by Stephanie Scott from Adventures in YA Publishing.
By Traci Sorell
for Cynthia Leitich Smith
I had no idea how beneficial an agent could be when I attended my first SCBWI
conference in October 2013.
I quickly realized how much about the industry I did not know.
I began to network with other children's writers, especially fellow Native Americans, and when it came time to look for an agent, I utilized that network extensively.
I questioned fellow writers with representation, especially those from Native/people of color backgrounds, about their experience. I asked how agents had presented themselves at conferences or other events. I read agent online interviews and social media posts.
I wanted my agent to be a steadfast partner with a strong work ethic. It is a long-term relationship, so both people have to be dedicated to maintaining it. I required someone who was excited about my work and associated with a well-respected agency.
|Traci's Reading Chair|
Ideally, I wanted someone who had editorial experience that reflects what I write—fiction, nonfiction, and Native/POC subjects. To be honest, this makes for a small submission list, so I did expand beyond that.
When I communicated with agents via email and telephone, I tracked whether what they shared reflected my list.
My gut got an extreme workout when I received two offers of representation on the same day. I cannot stress enough the importance of developing and checking in with trusted mentors.
Ultimately, I accepted Emily Mitchell
's offer of representation with Wernick & Pratt Agency
. She met every single item on my list. Her clients contacted me quickly and gave their honest feedback about her representation.
Emily had vetted me with my editor at Charlesbridge, her former employer. We had both done our homework.
To me, it is kismet that Emily presented at that first conference I attended—and in my home state of Oklahoma too! That day, she shared her desired client attributes—voice, authority, pragmatism and flexibility. I'd like to think I resemble her list, too. Cynsational NotesTraci Sorell
writes fiction and nonfiction for children featuring contemporary characters and compelling biographies. She has been an active member of SCBWI since August 2013.
In April 2016, Charlesbridge acquired her first nonfiction picture book, We are Grateful: Otsaliheliga, from the slush pile.
The story features a panorama of modern-day Cherokee cultural practices and experiences, presented through the four seasons. It conveys a universal spirit of gratitude common in many cultures.
Traci is an enrolled citizen of the Cherokee Nation. She grew up in northeastern Oklahoma, where her tribe is located.
She is a first-generation college graduate with a bachelor's degree in Native American Studies from the University of California, Berkeley
, where she graduated Phi Beta Kappa.
She also has a Master's degree in American Indian Studies from the University of Arizona
and a law degree from the University of Wisconsin
. Previously, she taught at the University of North Dakota School of Law
and the University of New Mexico
She also worked as an attorney assisting tribal courts nationwide, advocated for national Native American health care, and directed a national nonprofit serving American Indian and Alaska Native elders. She now lives in the Kansas City area.
See also Story to Contract: Traci Sorell’s Incredible Journey
by Suzanne Slade from Picture Book Builders. Peek: "Be grateful. Every day. If you approach your creativity and the process of writing from a place of gratitude, it opens you up. You will be more aware of story ideas, available to hear critiques that improve your craft, and connected to others around you in the kidlit world. Gratitude opens up receptivity."Emily Mitchell
began her career at Sheldon Fogelman Agency, handling submissions, subsidiary rights, and coffee. She spent eleven years at Charlesbridge Publishing as senior editor, contracts manager, and director of corporate strategy. After a brief post-MBA stint in the non-publishing world, Emily returned to children's books at Wernick & Pratt
Her clients include Geisel Honor winner April Pulley Sayre
, author/photographer of Best In Snow
(Beach Lane, 2016); Caron Levis
, author of Ida, Always
(Atheneum, 2016); and Frank W. Dormer
, author/illustrator of The Sword in the Stove
(Atheneum, 2016) and Click! (Viking, 2016).
Emily holds a bachelor's degree in English from Harvard University
, a master's in secondary English education from Syracuse University
, and an MBA from Babson College
. She lives outside Boston.
By Jaclyn Dolamore
for Cynthia Leitich Smith
I've moved into indie publishing lately, where it is entirely my choice which books I release into the world. So, I've been thinking about branding.
One thing it has taken me a while to realize is that just because you don't write the most popular thing and you get some bad reviews because of it, doesn't mean you need to change anything.
My second novel, Between the Sea and Sky
(Bloomsbury, 2001), is my favorite of my published books. Its review average on Amazon and Goodreads was never great, which initially made me feel like there was no place in the world for what I most love to write.
However, as the years have gone by, I've gotten many fan letters for that book from both kids and adult women who tell me it's one of their favorite books and they've read it many times. It took me all those years for the fan mail to trickle in before it finally dawned on me that it is the most beloved of all my books, as far as I can tell.
My brand is: cozy romantic fantasy about a couple in healthy relationship with lots of details about food, clothes, and domestic life, and bits of humor. The fantasy backdrop is more in the "courtly politics" vein rather than physical action, although there is a little of that.
The characters are always somewhat on the fringe of society, your lovable outcasts and weirdos, and if I've done my job, you keep reading because you find the characters delightful and you want to know what happens to them and see them find a place in the world.
|Betsy the Cat|
They are the kind of books you might read when you're sick or having a bad day; where the characters are friends, the world is home, and you can trust that your heart won't get ripped out of your chest.
A lot of readers like having their heart ripped out of their chest. They give me reviews that say they wanted more action, more magic, more highs and lows. It's always tempting to listen to the bad reviews instead of the good.
And sometimes I love reading stuff that is epic, sweeping, dark. But when I try to write it feels like when I wear my disco dress with the fluttery sleeves. I love that dress but it just isn't me
the way my plain 1960s navy blue librarian dress is.
Other people might even like the disco dress better, but it doesn't matter, I still would be happier living in the librarian dress.
As a reader, too, the cozy reads are the ones that fall apart on my shelf, because I pick them up again and again. So I realize now that it is more important to keep writing books that are the most me, and retain those readers who appreciate them too, than it is to try and chase the next big fantasy bestseller.Cynsational NotesJaclyn's books
- Magic Under Glass (Bloomsbury, 2009);
- Between the Sea and Sky (Bloomsbury, 2011);
- Magic Under Stone (Bloomsbury, 2012);
- Dark Metropolis (Hyperion, 2014);
- Glittering Shadows (Hyperion, 2015);
- The Vengeful Half (Self-published, 2016); and
- The Stolen Heart (Self-published, 2016).
|Christina & kiddos|
By Erin Petti
& Christina Soontornvat
for Cynthia Leitich Smith
's CynsationsToday Erin and Christina talk about their new releases and lives as newly published authors. Then offer tips as to how to survive and thrive your literary debut experience.Erin Petti
is the first-time author of The Peculiar Haunting of Thelma Bee
(Mighty Media, 2016). From the promotional copy:
Eleven-year-old budding scientist Thelma Bee has adventure in her blood. But she gets more than she bargained for when a ghost kidnaps her father. Christina Soontornvat
Now her only clues are a strange jewelry box and the word "return," whispered to her by the ghost.
It's up to Thelma to get her dad back, and it might be more dangerous than she thought--there's someone wielding dark magic, and they're coming after her next.
is the first-time author of The Changelings
(Sourcebooks, 2016). From the promotional copy:
All Izzy wants is for something interesting to happen in her sleepy little town. But her wish becomes all too real when a mysterious song floats through the woods and lures her little sister Hen into the forest...where she vanishes.
A frantic search leads to a strange hole in the ground that Izzy enters. But on the other side, she discovers that the hole was not a hole, this place is not Earth, and Hen is not lost.
She's been stolen away to the land of Faerie, and it's up to Izzy to bring her home.
CHRISTINA: The Peculiar Haunting of Thelma Bee
(Mighty Media, 2016) hit the shelves this fall. Has life changed for you now that you are a published author?
ERIN: Life is busier now with events and all that good stuff, but I wouldn't trade it for anything.
Also, it's totally and completely amazing to walk into a bookstore and see something I wrote on the shelves.
Pretty much a lifelong dream come true!
CHRISTINA: Yeah, seeing my book on the shelf is still kind of a shock. When friends snap a photo of The Changelings
(Sourcebooks, 2016) in a store halfway across the country, that’s when it hits me that all of this really happened.
Because otherwise life isn’t too different, you know?
It’s not like publishing a book gets you out of doing the laundry or the dishes! And meanwhile I can’t help putting even more pressure on myself to write the next thing.
ERIN: Oh absolutely, but writing that next thing is exactly what you have to do. That’s the biggest piece of advice I share with writers who are querying or about to debut - "keep writing!"
It took me a long time to write, revise, and query and there were moments where it was hard to get back to the actual writing part.
But the writing is really all you have control over so as long as you're creating and getting words on the page, you're doing your job.
CHRISTINA: That’s a good reminder – the author’s job is to write the books!
And you’re so right – there is a lot you don’t have control over, which can be stressful but also liberating in a way.
Speaking of “jobs,”you have a young daughter and another baby on the way as well as other work that you are passionate about.
How do you juggle life and writing?
ERIN: It's not super easy to schedule, and I've definitely had a measure of trouble keeping the house clean and my kid’s shoes on the right foot - but we're getting by.
My husband is more or less super-dad, and I rely on him an awful lot. But you are one to talk with your own work and two young kids!
CHRISTINA: Well, meeting other writers – like you – who have similarly jam-packed lives has been good for me. It’s a reminder that the vast majority of us have to purposefully and doggedly carve time out from our crazy lives to write, even after we get published.
Some days I get a couple hours, other days just enough time to jot down notes. But I’ve found that if I don’t write every day I get into trouble, and it’s harder to pick it back up. Oh, and I definitely gave up on having a clean house years ago!
Readers are going to fall in love with The Peculiar Haunting of Thelma Bee
. Your book isn't just for the Halloween season, but it definitely explores the paranormal.
Do you have a favorite spooky scene from the book?
ERIN: One of my favorite scenes is when the three young heroes are walking alone through the cold, dark New England woods searching for a certain (possibly haunted) cottage.
I got to play with the environment a lot--exploring just what is lurking in those tall shadows--and it really shows the kids at their bravest.
CHRISTINA: And those illustrations really build the suspense! They remind me of Edward Gorey
’s drawings, which I totally love.
ERIN: I love the illustrations, too! We’ve both talked about how we lucked out with our books’ art. Your beautiful cover jumps off the shelf! It definitely gives you the feeling that these fairies are no Tinkerbelles, that there is something darker going on.
CHRISTINA: Yes, the story was inspired by old folktales of fairies who steal babies and swap them with Changelings, so definitely a little dark. Their motivation for doing that was one of the most fun things to explore in the book. Why would they want human babies? And why would a Changeling sign up for that exchange? Tips for Debut Authors
1. Enjoy the moment: As much as we hate to start things off with a sentiment that should be cross-stitched onto a pillowcase, this one happens to be very true.
Celebrate the big and small milestones – your first signing, seeing your book on the shelf for the first time. And then there will be a moment when a reader loves your book so much that they tell you.
Soak that in. Don't skim over the beautiful moments. You only do this debut thing once.
2. Connect with a community: Other authors are the best and most supportive people to have in your corner, and sometimes the only way to maintain your sanity.
Twitter, conferences, and debut groups are wonderful ways to connect with other debut authors who are going through the same ups and downs as you are.
It also feels so satisfying to cheer on their successes and root for people whose books you love.
3. Turn that dang thing off: Social media can help keep you connected when you need it. But it can also suck the hours right out of your day – and time is going to be your most precious resource when your book comes out.
So as much fun as it is to chat and retweet clever "Stranger Things"
gifs, know when to put down the phone and work/read/rest.
Social media can sometimes also make you feel like everyone in the world is getting a book deal/winning awards/getting a movie contract/selling millions of copies – everyone but you
. If you ever feel that way, turn off that app for a little while, and see Tip #2.
4. Make it easy on your publicist: Your publicist will be your ally in helping to set up events, pitch you for conferences, and make connections for a blog tour.
But as much as they love you and your book, they will have other authors they are also working with and new books continuously coming down the pipe. Do what you can to help them help you.
During your first meeting or conference call, ask them for concrete ways you can help. Maybe you know of a local area children's book festival that your author friends rave about. Or perhaps your critique partner has a great blog and she wants to do a giveaway for you. Doing your research ahead of time will make everyone's jobs easier.
5. Get ready for things to change: Have you ever gone to a SCBWI
Conference and sat next to a debut author who told you, "Just enjoy the freedom of not being published yet. You can write so unselfconsciously," and you wanted to stab them with the pen that came in your registration tote bag? Turns out there's a little bit of truth to that.
For a lot of authors, getting published creates this paradox of delusional thinking that now they will never be published again. I blame some of this on the overemphasis of "being a debut." and the accompanying feeling that once your debut is over, you are used goods.
But whatever the reason, there are expectations now, real and imagined, from you, your agent, your publisher about you as a professional author. And you may find yourself longing just a little for the days when you wrote just to write, and there was less expectation, less self criticism, more freedom. (But don't say that to unpublished writers at conferences. Those pens are sharp).
6. Get ready for things to be exactly the same: After the initial sparkly, Instagram-worthy swirl of launch date subsides, life is likely going to feel pretty same-ish.
Yes, there may be events and school visits, book signings and festivals. But for most of us, the bulk of our days will carry on as before.
Your non-writer friends will assume you are out shopping for a Tesla Roadster or having brunch with Ann Patchett
when really you are cleaning a lint trap or scraping an exploded baked ziti off the oven door.
If in that moment you think to yourself, "I shouldn't be doing this – I'm a published author," you are in big trouble.
7. Keep writing: The best way to simultaneously get over your anxiety and celebrate your newfound authordom is to write more things.
If you have gotten to this point of having a book published, you must love the work of writing. There is no other reason that a sane person would endure the long, unpaid hours, the sting of rejection letters, the glacial delay of gratification, if that person didn't love to write.
You may have to write more things because you signed a contract for another book. If so, lucky you! But even if that's not the case, start on a new project before your debut comes out. You may have to set it aside during the busy days of your launch, but it will feel so good to open up your laptop and have something ready and waiting for you.
8. Find joy in other things: These things may be hobbies or your day job or your daily walk, or art museums or jiu jitsu. Or they may be people, like your spouse or your friends or your children.
These things matter very much, just as much as writing. And unlike writing, these things will hug you and they will eat your cruddy, over-baked ziti. And when you are having a hard day, they will hold up your new book and smile and say, "Look what you did! You did this!" a Rafflecopter giveaway
|Linda reflecting on her writing life.|
By Linda Boyden
for Cynthia Leitich Smith
How do I write?
With deepest apologies to Elizabeth Barrett Browning
and Dr. Seuss
, let me count the ways:
with pencil, pen or quill,
from a picture, if you will,
on a napkin, in the dark,
at the ocean, on a walk,
at a desk, from my dreams,
at a keyboard, near a stream:
the Muse attacks and I succumb, writing words one by one.
It may start anywhere, anytime without invitation. A spark leaps across one brain cell to another and I must write. I must capture the word/phrase/sentence on paper or in a text file so I can hold it hostage before this elusive gift evaporates.
During school visits, I tell my student audiences; this idea-generating stage of writing comes from something I refer to as the Cosmic Goo, a Nether-World place where ideas wait to be used.
|Cosmic Goo (it's a technical term)|
Once an idea has introduced itself, I enter the pre-writing phase, where I begin to translate images into slightly more tangible things, words. I want to see, touch, taste them; more importantly, I want to hear them.
I read all my work aloud, from rough draft to finished products, particularly important for picture book or poems. By doing this, I can test their word rhythms. I want to pair every idea with its perfect word mate; doubly important if the draft insists upon being rhymed.
Rhymed or in prose, rhythm is key. If I can't hear the intrinsic word melodies that rhythm produces then neither will my readers.
A stop in word rhythm will slow or stop the reader's flow, and potentially keep them from reading more.
For revising and editing most of my manuscripts, I proceed in two ways: I work a piece to the ground or I abandon it...for a night, a week, a year, or even completely. Separation has definite advantages.
Often, I will go to sleep ruminating on an irksome line, paragraph or scene and awake with its solution, or at least with the way to proceed. In contrast, a longer incubation period allows me to discover that not all pieces deserve to survive. I have learned to use the delete key.
|Grandchildren (at a younger age) featured with blessings.|
However, if a piece does deserve serious revision, then it deserves the best I can provide.
Good revision is much like good parenting: it starts from your heart.
You invest time in the improvement of your words or art; you encourage and nudge them to shine to become their best; last, you send them on their way and step back.
Will the words and illustrations you love ring true in the Big World?
Will your hard work pay off?
Like adult kids on their own, books mutate from your plans. A few make the New York Times Best Sellers List. Many speak to the hearts of librarians and teachers.
If you are lucky, truly lucky, your book will touch the one child it needed to help, the one who will fall asleep with your work tucked in her or his arms.
That's the beauty and importance of writing and illustrating books for children. Cynsational Notes
“I write. I teach. I color in or outside the lines. I spoil kids and grandkids....
"Poetry gives voice to our silent songs."
Author/illustrator/storyteller/recovering-teacher/poet, Linda Boyden
has written six and illustrated five picture books:
By Cynthia Leitich Smith
for CynsationsThe Latest Trend: Beautifully Illustrated Nonfiction Picture Books
by Vicki Cobb from The Huffington Post. Peek: "Great illustration should have a balance – a reduction to the essence, as well as visual interest and a seductive charm - dare I even say, beauty?"The Book Monster: When Writing Gets Hard
by Kate Moretti
from Writer Unboxed. Peek: "I was pushed to finish this book because of a contract and a deadline. If I’d been on my own, I might have put it away." See also Finding Confidence as a Writer
by Allie Larkin
.Giving Characters (& Readers) Too Little Information
by Mary Kole
from Kidlit.com. Peek: "They don’t want to simply unload all of the necessary information all at once when the protagonist lands in the new world. The downside of this approach, however, is that it leaves the protagonist in limbo."Trimmer Named Head of Holt Books for Young Readers; Godwin to Get Imprint
by Diane Roback from Publishers Weekly. Peek: "Christian Trimmer has been named editorial director of the imprint; he is currently executive editor at Simon & Schuster Books for Young Readers.... Laura Godwin, v-p and publisher, will launch her own imprint, called Godwin Books."SMP Launching Crossover Imprint, Wednesday Books
by Rachel Deahl from Publishers Weekly. Peek: "...will publish YA and adult titles focused on coming-of-age themes. SMP said the line will focus on 'bold, diverse, and commercial voices in fiction and nonfiction who speak to readers looking for stories in and beyond the YA category.'" The History That's Not In Textbooks
by Guadalupe Garcia McCall
from Lee & Low. Peek: "No one can ever do justice to the retelling of the extent of the horrific atrocities committed during that time with complete accuracy and authenticity because so much of it was concealed, poorly recorded, or swept under the proverbial rug."Out and Proud vs. Hiding In Plain Sight
by Tirzah Price
from Book Riot. Peek: "This new consideration inspired me to take a closer look at the lesbian hand cover trend, and some of the considerations that authors and publishers (but mostly publishers) have when creating these covers. How are they approaching these covers, and what, if anything, has changed in the last two years?"Steve Matin: A "Wild and Crazy" Role Model
by Sarah Callender
from Writer Unboxed. Peek: "A writer’s professional road is long and unpredictable, quite simply because we writers don’t have full control over how our work is received in the world."Interview With MG Authors Audrey Vernick and Olugbemisola Rhuday-Perkovich
by Darlene Beck Jacobson from Smack Dab in the Middle. Peek: "I think I base just about all of my characters on people I know or have met, a lot of the time I don't do it consciously."YA Authors Turn Advocates
by Sarah J. Robbins from Publishers Weekly. Peek: "...we speak with authors of recent books about what motivated each of them to take on an especially tough topic. We asked them to talk about the challenges and responsibilities of walking the line between artistry and advocacy, both during the writing process and after publication, once their work reaches its audience."
Congratulations to VCFA WCYA
alum Stephen Baker, the Karen Cushman Late Bloomer Award
winner, from SCBWI! Stephen graduated in summer 2016. Creating Unforgettable Settings: Choosing the Right Setting
by Becca Puglisi
from Writers Helping Writers. Peek: "...there should be places within that setting that are important to the character. Melinda’s janitorial closet in Speak
. Or the forest outside District 12 for Katniss in The Hunger Games
."This Week at CynsationsMore Personally
A quiet week of teaching here, as I've reviewed the third-round packets from my students at the VCFA MFA program in Writing for Children & Young Adults
However, I did take a break to reward myself for turning in my manuscript with a detoxifying mud wrap at Ann Web Skin Clinic
(Austinites! Ann Webb is a school, so treatments are substantially less expensive than you'd pay at a traditional spa. But the services are excellent, and it feels like spa experience.)
|Ready for a mud wrap!|
I've been thinking a lot lately about the importance of self-care, hence my post this week (Election Reflections & Caring for Your Creative Heart
It's not selfish to look after your own physical and especially your own mental health. If our glass is empty, we have nothing to give. Nothing to give our friends and families, nothing to give our communities and our literary art. Nothing to give ourselves. Fill the well, book lovers! Fill the well!
On another note, my official facebook author page
has been liked more than 6,000 people. Please feel free to join me there if you haven't already. Much like Cynsations, the focus includes but goes well beyond my own work to children's-YA writing, illustration, literature, education and publishing more globally. Along the same lines, please consider yourself invited to join my nearly 18,000 followers @CynLeitichSmith on Twitter
By Carol Lynch Williams
for Cynthia Leitich Smith
In the early part of last year, Rick Walton, one of my best friends and a prolific picture book writer, was diagnosed with a terminal and aggressive brain tumor.
For many years before this diagnosis, Rick battled early-onset Parkinson’s disease.
Recently, the tumors returned (after a surgery that left Rick partially paralyzed) and as I write this, my friend, my hilarious, clever, word-twisting friend, lives out his last days.
I’ve wandered around the house crying far too much, visiting Rick when I can.
This world of grief is something we all experience in one way or another. No one is exempt from sorrow. It makes up a part of who we are and so grief finds its way into many of my novels. My characters grapple with love lost, death, abuse. I write about life. The sad part.
Writing about grief, telling the true story of a sorrowing character, is tremendously important.
Readers need examples of survivors. But what happens when that grief becomes too much for the writer?
These last few weeks, as Rick has become more and more sick, has found me not wanting to write unless I must. I don’t believe in the muse nor do I believe in writer’s block. Writing is hard work and we must work to get words on the page.
I do think, however, there are drags on our creativity—events that can eat up our words almost before they are formed. That’s where I am now.
Many years ago, it seemed my worlds crashed around me. I went through a divorce, lost the home I’d raised my girls in, ended up moving every few months trying to find a place for my children and me to settle. I was desperate for a place to call home.
At the same time, four people in my life died, money became more and more scarce, a close relative experienced two psychotic breaks, a drugged neighbor kept trying to break into our rented house . . . and when I thought I could bear no more, I went to two unrelated funerals in two days.
I felt overwhelmed with grief. At one point I finally cried out to my God, “I believe in you but do you believe in me?” That accumulated sorrow led to my young adult novel Waiting
(Simon & Schuster/Paula Wiseman, 2012).
there were other times
when my heart and my body, and my spirit even, felt unable to do anything
, including write.
There were times when I wept alone and in the open.
Times when I wondered if I could draw in a breath.
Then, I despaired.
I found myself hoping for courage and the ability to do what I had to do: write.
Here are a few things, past the hoping, that helped me get the courage to do the hard thing of finishing a novel. I:
- Prayed. Talking to God is an important part of who I am. I spent hours talking, weeping and talking some more.
- Exercised. I took off walking, and talking, alone. This exercise permitted my body to breathe and to relax, to rid myself of layers of grief.
- Shared the pain. There seemed a time when even a grocery store checker asking me how I was brought on my sharing. That speaking up lightened the load, made it feel possible for me to keep going.
- Gave myself room and time. It’s okay if the words don’t come right away. They will come.
- Trust yourself. You will write again. It will happen. The next thing you know you’ll find yourself allowing new characters in your life, then wrestling in that awkward middle part of the novel, then typing those triumphant words, THE END.
Every day since the news that Rick will soon die, I’ve gone to see him. I hold his hand, talk to him about my own life, read him messages from those who love him and can’t travel to Utah to tell him goodbye themselves.
But I haven’t written.
Not my blog, not either of the two novels I should be rewriting, not on the mid-grade or YA novel I started this summer.
For the sorrow to not be as heavy.
I wish you all could have known Rick Walton as he was years ago. You’d love him like I do. He’s pretty darned fantastic. I’m going to miss him.
My best friend. My Rick.More from Carol
Rick Walton passed away peacefully, with his mom and sister by his side, three days after I completed this writing. Cynsational Notes
Rick Walton's books included Frankenstein: A Monstrous Parody
, illustrated by Nathan Hale (Feiwel & Friends, 2012); Girl and Gorilla: Out and About
, illustrated by Joe Berger (HarperCollins, 2016), and Bullfrog Pops! An Adventure in Verbs and Objects
, illustrated by Chris McAllister (Gibbs Smith, 2011). A legacy of inspiration, remembering Utah children’s book author extraordinaire Rick Walton
by Ann Cannon from The Salt Lake Tribune. Peek: "In the end, the people Rick inspired will go on to inspire others who will inspire others who will inspire others. And because he adored people as much as he adored words, his circle was large. His influence will be felt by individuals who may never know his name." See also How Writer Rick Walton Inspired Utah's Literary Wellspring
by Rachel Piper from The Salt Lake Tribune and Utah Children's Authors Build a Community
from Publishers Weekly.About Carol Carol Lynch Williams
, who grew up in Florida and now lives in Utah, is an award-winning novelist with seven children of her own, including six daughters.
She has an MFA in writing for children and young adults from Vermont College
, and won the prestigious PEN/Phyllis Naylor Working Writer Fellowship. The Chosen One
(Griffin, 2010) was named one of the ALA’s Quick Picks for Reluctant Young Adult Readers and Best Books for Young Adult Readers; it won the Whitney and the Association of Mormon Letters awards for the best young adult novel of the year; and was featured on numerous lists of recommended YA fiction.
Carol’s other novels include Never Said
(Blink, 2015), Glimpse
(Simon & Schuster, 2010), Miles From Ordinary
(Griffin, 2012), The Haven
(St. Martin's 2012), and Signed, Skye Harper
(Simon & Schuster/Paula Wiseman, 2015). See also Sisterhood, Body Image, and Sexual Abuse | Carol Lynch Williams on “Never Said”
by Shelley Diaz from School Library Journal.
By Cynthia Leitich Smith
for CynsationsDonna Janell Bowman
is the first-time author of Step Right Up: How Doc and Jim Key Taught the World About Kindness
, illustrated by Daniel Minter
(Lee & Low, 2016). From the promotional copy:A Horse that can read, write, and do math?Ridiculous! That’s what people thought until former slave and self-taught veterinarian Dr. William Key, with his “educated” horse Beautiful Jim Key, proved that, with kindness, anything is possible. Over nine years of exhibiting across the country, Doc and “Jim” broke racial barriers, fueled the humane movement, and inspired millions of people to step right up and choose kindness. What was your initial inspiration for writing this book?
This question ties so perfectly into my belief that there’s a piece of us in everything we write.
In 2006, I read a book about Beautiful Jim Key, authored by Mim Eichler Rivas
(William Morrow 2005/Harper Paperbacks 2006). It was a given that I would be drawn to a horse book. I grew up on a Quarter Horse ranch, where life revolved around raising, training, and showing horses, and caring for the myriad livestock and other animals. I have always been an animal lover, and I know firsthand how powerful the human-animal bond can be—how the combination of time, trust, and affection can create such synergy that you can practically read each other’s minds.
Courtesy of Tennessee State Library and Archives.
That kind of relationship bonded William “Doc” Key and his horse, Beautiful Jim Key. While the horse was what drew me to the story, I was immediately awed by Doc. His greatest historical contribution was an unmistakable message about kindness, in a time of extreme racial prejudice, and brutal treatment of animals.
How could I not love the story of a man who overcame so much to make a real difference in the world?
Thanks to Doc, “Jim,” the horse, became a sort of poster child for the emerging humane movement, while Doc overcame injustices, broke racial barriers, and helped change the way people thought about and treated animals. Doc was awarded a Service to Humanity Award, and Jim was awarded a “Living Example” award.
So, back to your question, Cyn, about what inspired me to write this story—it spoke to my heart. I dived into research with zeal.What were the challenges (literary, research, psychological, logistical) in bringing the text to life?
There were a number of challenges to writing this story, but three that most stand out:
First, the research. It was claimed that Beautiful Jim Key could read, write, calculate math problems, compete in spelling bees, identify playing cards, operate a cash register, and more. I had to get to the bottom of how this could be possible.
I used the adult book as my jumping off point, but I wasn’t satisfied to rely solely on somebody else’s research.
This is a story that straddles the 19th and 20th centuries, so I read a great deal about the period, including slavery, the Reconstruction Era in the distinct regions of Tennessee, the history of the humane organizations; the related World’s Fairs, Doc’s business interests, etc.
Emotionally, the most difficult part was reading about how animals were treated in the 19th century, and, more importantly, how enslaved people were often treated with similar brutality. Only a tiny fraction of my research appears in the book’s back matter, but it all deeply affected my approach to the story.
I visited the Shelbyville (TN) Public Library
and skimmed through their microfilm. Then I spent some time at the Tennessee State Archives, donning white gloves as I perused the crumbling scrapbooks from the BJK collection.
During that 2009 trip, I also visited the humble Beautiful Jim Key memorial in Shelbyville, TN, and Doc’s grave site at the Willow Mount Cemetery. (I might have shed a few sentimental tears.) We then tracked down what I think was Doc’s former property, though the house is long gone.
This kind of onsite research, along with old photos and local news accounts, allowed me to imagine the setting of Doc’s hometown. Back home, I collected binders-full of newspaper articles, playbills, and promotional booklets. Through these, I got a feel for how people thought about Doc and Jim.
And, most importantly, I found some of Doc’s explanations for how he taught the horse. What became clear was, though we may never know exactly how the horse was able to do so many remarkable things, the countless news reporters and professors who tried to prove trickery or a hoax, never found anything beyond “education.” Jim only rarely made mistakes.
Ultimately, what Doc and Jim did for the humane movement is even more significant than what the horse performed on stage.
Originally, I had planned the story for middle grade audiences until my agent (who wasn’t my agent yet) suggested that I try a picture book version. I already had half of the chapters written by this time, so I was aghast at the thought of starting over. And I didn’t know how to write a picture book biography. I spent the next two years analyzing and dissecting a couple hundred picture book biographies to figure out how they work.
I decided to blog
about some of my craft observations, using the platform as a quasi-classroom for myself and anyone else who might happen upon my site.
Many, many, many drafts later, I had a manuscript that attracted the attention of a few editors. Lee and Low was the perfect home for Doc and Jim.
There was a built-in challenge in writing this story about a formerly-enslaved African American man. Because I don’t fit any of Doc’s descriptors, it was doubly important that I approach the subject with respect and sensitivity.
I couldn’t merely charge through with the mindset that I’m just the historian sharing documented facts.How are you approaching the transition from writer to author in terms of your self-image, marketing and promotion, moving forward with your literary art?
It is so exciting to finally be crossing the threshold into this new role. The past nine years, which is how long I’ve had the story in my head and in my heart, have felt like the longest-ever pregnancy.
There’s a mixture of joy, relief, and fear during this delivery stage. Fortunately, so far, very nice starred reviews have praised the book, and each reviewer wisely sings the praises of Daniel Minter’s spectacular lino-cut acrylic art.
As I think ahead to marketing and promotion, I’m planning for the Oct. 15 release, the Oct. 23 launch party, and how the book might raise awareness of the need for more kindness in the world—not only toward animals but toward each other.
From my very first draft, nine years ago, I knew I’d revive the original Beautiful Jim Key Pledge—originally signed by two million people during Doc and Jim’s time.
I plan to incorporate the pledge into my author presentations, and it will be downloadable from my website soon. I also hope to align with some humane organizations to help them raise awareness.
I have two more books under contract, several others on submission or in revision, and a novel-in-progress.
In 2018, Peachtree Publishers will release En Garde! Abraham Lincoln’s Dueling Words, illustrated by S.D. Schindler
, followed in 2019 by King of the Tightrope: When the Great Blondin Ruled Niagara, illustrated by Adam Gustavson
Such is the author’s life, right? We write, we rewrite, we revise, we sell, we wait, we celebrate, then we do it all over again. Because we can’t imagine not writing something that moves us. And we can’t imagine not writing for young people. Cynsational GiveawayBook Launch
! Join Donna Janell Bowman
at 3 p.m. Oct. 23 at BookPeople in Austin. Donna will be speaking and signing. Fundraiser: Step Right Up and Help The Rescued Horses of Bluebonnet Equine Human Society
: "They are horses, donkeys, and ponies that are helpless and hopeless. And they are hurting. The lucky ones land at Bluebonnet Equine Humane Society. Under the loving care of professional staff and volunteers, the animals are medically and nutritionally rehabilitated, then placed with trainers to prepare them for re-homing/adoption." See also Interview: Step Right Up Author Donna Janell Bowman
by Terry Pierce from Emu's Debuts.
Enter to win two author-signed copies of Step Right Up: How Doc and Jim Key Taught the World About Kindness
by Donna Janell Bowman
, illustrated by Daniel Minter
(Lee & Low, 2016).a Rafflecopter giveaway
By M.T. Anderson
for Cynthia Leitich Smith
The Vermont children’s book community had an incredible treat on Oct. 7 at the Stowe Cinema 3Plex in Stowe, Vermont:
We all descended on a movie theater in Stowe where Katherine Paterson
had opted to hold the premiere of the film adaptation of her National Book Award-winning middle-grade masterpiece, "The Great Gilly Hopkins"
from Lionsgate. It was a formal champagne and popcorn kind of event.
(Begging a question: What Would Gilly Do? Somehow I see Mountain Dew hitting the screen during the touching scenes.)
Several generations of Patersons were there, including Katherine’s sons David (who wrote the screenplay) and John (who produced).
It’s a wonderful movie, with a cast that includes Glenn Close
, Octavia Spencer
, Kathy Bates
, and, in a delicious little cameo, Katherine herself. Fans of the book will be delighted to see how much of the original dialogue has been lovingly retained – one of the benefits of having the author’s son as screenwriter.
Afterwards, Katherine admitted that Kathy Bates will now play Maime Trotter permanently in her head, and I think many of us would agree. The way she inhabited that iconic character was flawless and deeply moving.
The screening was followed by a panel with Katherine, David, and John talking about the genesis of both the book and the movie. They reminisced about the two children whose stay with the Paterson family in the late seventies led more or less to Katherine’s conception of the novel – and to her vision of Gilly’s rage at her situation. And they talked about how they’d maneuvered the project through Hollywood, trying to keep the story intact.
At the same time, they spoke frankly about why certain details differed from the book to the movie … the swapping of the case-worker’s gender, for example. (It would be a fun class discussion to have!)
It was a real delight to see the movie and then, immediately, hear these three talk about it. The evening was organized by Vermont College of the Fine Arts
as a benefit for Tatum’s Totes
, a charity which provides emergency bags filled with clothes, blankets, and toys for foster kids in transit.
By the way,, the movie is apparently available for streaming online at all the usual venues (iTunes, Amazon), if it’s not showing at your local theater. Though that service doesn’t come with as many Patersons.
By Cynthia Leitich Smith
This week I've caught myself for two minutes here, five minutes there, reading a scene from my manuscript in progress.
Not to edit it. Not because I'm nervous about what my new editor will say (that won't kick in for another couple of weeks).
Not because I don't have other things to do. I'm busy teaching and writing speeches.
This week I'm reaching for my work in progress because it comforts me. It's tangible proof that I'm working steadily to the best of my ability to offer something positive to this world, to its future.
I feel a need for tangible proof right now. I'm holding myself accountable and weighing my efforts.
Of late, several writers and illustrators have thoughtfully spoken with me about navigating the dialogue around the current U.S. presidential election.
Here are my thoughts:
First, engage in nurturing self-care. As creative people, we must be courageous and empathetic. That makes us vulnerable. As a creative community, we must take emotional and mental health seriously.
Especially for diverse writers--more so for those who're also women, the landscape is precarious and allies too often undependable.
So, again, please take care of yourself and each other.
That said, no, you don't have to surrender your freedom of political speech for your career. If you believe that your democracy is at stake, your community is at stake, know that publishing as an industry is not going to punish you for saying so.
As for the gatekeepers and the general public, yes, it's possible that you may not sell a copy or, for that matter, two hundred copies of your book, if you speak out. It's possible you may not be invited to a particular event or win a particular award because a given individual disagrees with you.
In a traditional partisan contest, with its typical rhetoric, it may be worth weighing whether to raise your voice or let your books do the talking, especially in cases where those particular books could save kids' lives.
But, my friends, I seriously doubt any of that's in play this time.
We're talking about a national dialogue in which Tic Tac felt the need to issue a statement
: "Tic Tac respects all women."
You know, in case you were worried about the position of a mint company on gender.
We are neck deep in the surreal.
So, don't be too hard on yourself if you're triggered or baffled or or disheartened or outraged. Everyone I talk to keeps apologizing for having feelings. Of course you have feelings!
My suggestion: Participate in a way that preserves, reflects and/or affirms your creative life. If what's best for you is to be quiet and go vote, okay. That's fine. If you want to engage on Twitter and then go vote, that's an option, too. But regardless, focus on your own work.
Continue to craft great books for children and teenagers. Maybe not this minute or this week, if you're not up to it. But when you're ready.
This is the world we're giving to future generations, and those of you who create (produce, champion and connect) literature for young readers are among my heroes. Hang in there.
I believe in you.Cynsational Notes Switch to Indigenous People's Day Yvonne Wakim Dennis
from The Buffalo News. Peek: "While not a perfect panacea, a nationwide Indigenous People’s Day could be a powerful 'first step' to righting some of the wrongs indigenous peoples have suffered."
See also Italian Americans Who Fought for Justice
from Teaching a People's History.Indigenous People's Day YA Collection
from Lee & Low. Peek: "This Young Adult collection highlights indigenous cultures and the issues they face. These paperback and hardcover books for both on-grade level and struggling readers are sure to engage and offer a range of complexity to meet all students' needs."Best Books About Native Americans/First Nations
by Debbie Reese
from American Indians in Children's Literature.
By Cynthia Leitich Smith
Check out the book trailer for Three Truths and a Lie
by Brent Hartinger
(Simon Pulse, 2016). From the promotional copy:A weekend retreat in the woods and an innocent game of three truths and a lie go horribly wrong in this high-octane psychological thriller filled with romantic suspense by a Lambda Award–winning author.
Deep in the forest, four friends gather for a weekend of fun.
Truth #1: Rob is thrilled about the weekend trip. It’s the perfect time for him to break out of his shell…to be the person he really, really wants to be.
Truth #2: Liam, Rob’s boyfriend, is nothing short of perfect. He’s everything Rob could have wanted. They’re perfect together. Perfect.
Truth #3: Mia has been Liam’s best friend for years…long before Rob came along. They get each other in a way Rob could never, will never, understand.
Truth #4: Galen, Mia’s boyfriend, is sweet, handsome, and incredibly charming. He’s the definition of a Golden Boy…even with the secrets up his sleeve.
One of these truths is a lie…and not everyone will live to find out which one it is.
Compiled by Cynthia Leitich Smith
Check out the book trailer for Teen Frankenstein
by Chandler Baker
(Feiwel & Friends, 2016). From the promotional copy: High school meets classic horror in Teen Frankenstein, Chandler Baker's modern re-imagining of Mary Shelley's gothic novel.
It was a dark and stormy night when Tor Frankenstein accidentally hits someone with her car. And kills him. But, all is not lost―Tor, being the scientific genius she is, brings him back to life...
Thus begins a twisty, turn-y take on a familiar tale, set in the town of Hollow Pines, Texas, where high school is truly horrifying.
By Cynthia Leitich Smith
for CynsationsSocial Justice Books to Teach Kids About Global Issues
from What Do We Do All Day? Peek: "Social justice, whether it be environmental, political, gender oriented, or economic is a crucial subject and we must discuss it with our children if we want them to grow up to be compassionate global citizens."We Need Diverse Books Mentorship Program & Application
from WNDB. Peek: "...ten mentorships, two in each of the following categories – Picture Book Text (PB), Middle Grade (MG), Young Adult (YA), Nonfiction (NF), and Illustration (IL). The winners will communicate with the mentor for approximately one year in a mentor/mentee custom-defined program." See also We Need Diverse Books Launches Curated Book App
by Claire Kirch from Publishers Weekly.Character Motivation Thesaurus: To Rescue a Loved One
by Angela Ackerman from Writers Helping Writers. Peek: "Through this thesaurus, we’d like to explore these common outer motivations so you can see your options and what those goals might look like on a deeper level."With Thanks to an Unforgettable Teaching Author & Mentor
by Esther Hershenhorn
from Teaching Authors. Peek: "Simply put, Barbara Seuling respected each of her writer’s capacity to become, including this writer, and for that I remain forever grateful. She held the bar High, because we write for children." See also In Memory: Barbara Seuling
from Cynsations.SCBWI Jane Yolen Mid-List Author Grant
: "You must be a current member who has published at least two PAL books, but has not sold anything for at least five years." Note: Two winners will share the $3,000 grant.Why Laurie Halse Anderson Writes for Children: "Literature Is The Best Gift We Can Share With Them"
by Sadie L. Trombetta from Bustle. Peek: "...this revelation was the most offensive. 'America – the beacon of freedom for the world – was built on the backs of enslaved American families. It’s time for us to own up to that.' And Ashes
, along with Chains
, attempts to do just that by sharing the stories of two slaves struggling for their own freedom, liberty, and justice alongside a young nation trying to accomplish the same thing."Four Kinds of Pacing
by Donald Maass
from Writer Unboxed. Peek: "In fiction terms, who says that has to apply only to plot events? There are other ways to pace a novel. There are many kinds of steps through which you can put your characters and readers."2016 Finalists for the National Book Award (Young People's Literature)
: Kate DiCamillo, Raymie Nightingale
(Candlewick); John Lewis, Andrew Aydin & Nate Powell (Artist), March: Book Three
(Top Shelf); Grace Lin, When the Sea Turned to Silver
(Little, Brown); Jason Reynolds, Ghost
(Atheneum); Nicola Yoon, The Sun Is Also a Star
(Delacorte). Note: Congrats also to Jacqueline Woodson, finalist in Fiction for Another Brooklyn
(Amistad).Thinking and Learning about Cultural Appropriation
by Monica Edinger
from Educating Alice. Note: Highlights key recent links on the conversation within children's-YA literature.Nine Books to Put You in the Halloween Mood
by Audrey from Rich in Color. Peek: "...here’s a list of nine YA books by and/or about people of color that I think would be perfect for getting you ready for the upcoming holiday. We’ve got ghosts, monsters, witches, superheroes, and much more!" See also Plan-Your-Month Roundup: October Holidays
from Lee & Low.Cynsational Screening Room This Week at CynsationsCynsational Giveaway
Enter to win an author-signed copy of Penny & Jelly: The School Show
(2015) Penny & Jelly: Slumber Under the Stars
(2016) by Maria Gianferrari
, illustrated by Thyra Heder
(HMH Books). Eligibility: U.S. only. More Personally
|Can you find me on the back? Do you see my pencil drawing on the front?|
I'm honored to be a contributor to Our Story Begins: Children’s Authors and Illustrators Share Fun, Inspiring, and Occasionally Ridiculous Things They Wrote and Drew as Kids
, edited by Elissa Brent Weissman
(Atheneum, 2017)(ages 8-up). From the promotional copy:From award-winning author Elissa Brent Weissman comes a collection of quirky, smart, and vulnerable childhood works by some of today’s foremost children’s authors and illustrators—revealing young talent, the storytellers they would one day become, and the creativity they inspire today.
Get ready for the readergirlz #RocktheDrop
Link of the Week: Just Say Yes!
by Cathy Yardley
from Writer Unboxed. Peek: "A ship in harbor is safe – but that’s not what ships are built for."
By Cynthia Leitich Smith
for CynsationsJonah Lisa Dyer and Stephen Dyer
are the first-time authors of The Season
(Viking, 2016). From the promotional copy:
She can score a goal, do sixty box jumps in a row, bench press a hundred and fifty pounds…but can she learn to curtsy?
Megan McKnight is a soccer star with Olympic dreams, a history major, an expert at the three Rs of Texas (readin’, ridin’, and ropin’), but she’s not a girly girl. So when her Southern belle mother secretly enters her as a debutante for the 2016 deb season in their hometown of Dallas, she’s furious—and has no idea what she’s in for. When Megan’s attitude gets her on probation with the mother hen of the debs, she’s got a month to prove she can ballroom dance, display impeccable manners, and curtsey like a proper Texas lady or she’ll get the boot and disgrace her family. The perk of being a debutante, of course, is going to parties, and it’s at one of these lavish affairs where Megan gets swept off her feet by the debonair and down-to-earth Hank Waterhouse. If only she didn’t have to contend with a backstabbing blonde and her handsome but surly billionaire boyfriend, Megan thinks, being a deb might not be so bad after all. But that’s before she humiliates herself in front of a room full of ten-year-olds, becomes embroiled in a media-frenzy scandal, and gets punched in the face by another girl.
The season has officially begun…but the drama is just getting started. How did you discover and get to know your protagonist? How about your secondary characters? Your antagonist?
The Season is a modern retelling of Pride and Prejudice by Jane Austen
set in Texas in 2016 so our main character, Megan McKnight, is based on Elizabeth Bennet.
We really examined that classic, well-loved character and asked ourselves: What traits make her who she is? What makes her the woman Mr. Darcy falls in love with? The woman we all
fall in love with?
We literally made a list of important traits: Brash, forms strong opinions, speaks her mind, loves to read, more physically active than other women, witty, fiercely loyal, loves the outdoors, isn't as interested in men as other young women her age, her singularity. Things like that. Then we tried to imagine what a modern young woman, who embodied all those traits, would be like.
We decided she'd be a history major and an athlete and we chose soccer as her sport. She'd be the kind of girl dedicated to practicing and playing even if it meant she was a little intimidating to guys and didn't have much time for dating. She'd be more interested in fueling her body for athletics than in fitting into a size two. She'd throw her hair in a ponytail, put on some Chapstick and pull on track shorts rather than care about makeup and fashion. She'd be funny and snarky, but so much so that it would get her into trouble sometimes. She'd be more loyal to her sister and her teammates than to any guy.
And also, like Elizabeth Bennet, she'd have no idea how to be coy. While other girls (like her sister) might hide their feelings, she just wouldn't be capable of keeping her opinions to herself.
As you can see, we had a really strong blueprint to build our main character from, which is a wonderful. But the kinds of questions we were focused on are no different when you're creating a character from scratch.
I think the most helpful thing with any character is to know where you want them to end up. What lesson must they learn by the end? If the lesson, as in the case of Elizabeth Bennet and our Megan McKnight, is to not form knee-jerk opinions about things, then you better start that character as far away from that point as realistically possible. You have to allow every character, not just your protagonist, room to grow, and change.
A book is not a journey for the reader if it's not a journey for the characters.
And so, the same method applies to all our secondary characters as well. We found modern ways for them to embody the traditional Austen characters' traits. Our Mrs. Bennet is a social climber trying to set he daughters up for success, our Jane Bennet is the embodiment of the perfect young woman, albeit a contemporary one, and our Mr. Darcy is proud and aloof.
Real people always play a role in characterizations, too. Sometimes we think of certain real people that we know or even famous people to help us envision a certain character. I've always found it easier to describe a setting if I've seen it, and the same holds true for people.
Of course, you always add and take away from reality when you're creating fiction, but you often end up with characters who are an amalgamation of people who really exist.As a comedic writer, how do you decide what's funny? What advice do you have for those interested in either writing comedies or books with a substantial amount of humor in them?
Writing comedy is so hard. Humor is in the eye of the beholder and because of this, and perhaps more all other types of writing, it cannot be done in a vacuum.
Like most things having to do with writing, it starts with observation. You know what you
think is funny to you and your friends. Start there. Make notes. Have little booklets full of funny conversations you'd had and witty things you've said. Research isn't just dry reading about some place you've never been or some historical period. Research is about watching human behavior, listening to speech patterns, and being tuned in to what makes people laugh.
Stephen and I have the benefit of having each other. But we had already been together for seven years when we accidentally discovered that we were good writing partners.
I was an actress and was starting to do stand-up comedy in New York City. I was writing my stand-up material and would try things out on him at home in the evenings. He was my sounding board and was almost always able to build on what I had, and make it better.
We started working on all my material together, cracking each other up in the process. It's a really good example of how having a someone to be your sounding board is so important with comedy.
Maybe that's why sitcoms and "Saturday Night Live"
fill hire six-to-fifteen writers who work together or why so many of the old screwball comedies were penned by a two-person writing team.
But even if you don't use a partner to write comedy, you got to find that person or people to give you a gut-check.
To answer the most important question: Is this funny to anyone besides me?
So whether it's your best friend, or an online writing group, or just one other writer who understands your genre, find those Beta Readers.
And if they are good, be good to them. If you can't offer a quid pro quo of also reading their work, then small gifts are a really nice way of saying thank you and keeping them in your corner.
The other important factor in writing comedy is just to do it, and do it often. Your funny bone isn't a bone at all, its a muscle!
Okay, it's really a nerve but that doesn't fit into my metaphor so just go with me. The point is, if you want it to be strong, you have to exercise it! The funnier you are, the funnier you will be. I have never been funnier than when I was doing stand-up because I was doing it every day. My mind was just set to that channel!
If you are writing a comedic piece, you need to immerse yourself in comedy. Hang out with your funny friends! Watch funny shows and movies. Go to a comedy club.
Basically, put yourself in a funny world so you have something to play/write off of.
By Cynthia Leitich Smith
for CynsationsJenny Kay Dupuis
is the first-time author of I Am Not a Number
, co-authored by Kathy Kacer
, illustrated by Gillian Newland
(Second Story, 2016). From the promotional copy:When eight-year-old Irene is removed from her First Nations family to live in a residential school she is confused, frightened, and terribly homesick. She tries to remember who she is and where she came from, despite the efforts of the nuns who are in charge at the school and who tell her that she is not to use her own name but instead use the number they have assigned to her. When she goes home for summer holidays, Irene's parents decide never to send her and her brothers away again. But where will they hide? And what will happen when her parents disobey the law? Based on the life of co-author Jenny Kay Dupuis’ grandmother, I Am Not a Number is a hugely necessary book that brings a terrible part of Canada’s history to light in a way that children can learn from and relate to. As an author-educator, how do your various roles inform one another?
My roles as an educator and author are intrinsically interconnected. I'm always searching for meaningful, engaging ways to reach out to young people so they can learn more about topics pertaining to Indigenous realities, diversity, social and cultural justice, and respectful relationships.
While working in the field of education, I realized that there were not many children's picture books available that focused on Indigenous realities through the lens of a First Nations family.
Co-writing I Am Not a Number with Kathy Kacer
gave me the opportunity to reflect on the value of literature for young people and how educators and families can make use of picture books to start conversations about critical, real-world issues.
When writing my granny's story, I realized that I was drawing on my expertise as an Indigenous community member, educator and learning strategist. I was cognizant of how children's literature can be used as a gateway to encourage young readers to unpack a story ("community memories"), think critically, and guide them to form their own opinions about issues of assimilation, identity loss, oppression, and injustice; all of which are major themes deeply rooted in policies that have either impacted or still impact Indigenous peoples.
|Jenny Kay Dupuis|
A children's picture book like, I Am Not a Number can support educators, students, and families to engage in deep and meaningful conversations.
The story is about my granny, who was taken from Nipissing First Nation
reserve at a young age to live at a residential school in 1928.
The book can be used to direct conversations about not only Indigenous histories, but also the importance of exploring the underlying concepts of social change, including aspects of power relations, identity, and representation. For instance, young readers can engage in a character analysis by exploring the characters' ethics, motivations and effects of behaviours, and the impact of social, cultural, and political forces.
Through strong characters, written words, and vivid illustrations, the readers can also explore aspects of imagery, the settings, and the power of voice (terminology) used to express feelings of strength, fear, loss, and hope.
My hope as an educator-author is that the book, I Am Not a Number, will inspire others to use children's literature to encourage young people to begin to talk about past and present injustices that Indigenous communities face. How did the outside (non-children's-YA-lit) world react to the news of your sale?
I Am Not a Number was released on Sept. 6. The reviews have been overwhelmingly positive in Canada and the United States so far. One of the review sources, Kirkus Reviews
, described it as "a moving glimpse into a not-very-long-past injustice." Booklist
also gave it a starred review and highly recommended it. Other book reviewers have recommended it for teachers, librarians, and families.
As a lead up to the launch of the book, I was asked by various groups (mostly educators) to present either in person or through Skype about topics linked to Indigenous education and the value of children's young adult literature. The sessions have been helpful for the participants to see how a book like I Am Not a Number and others can be used.
The book will also be available in French in early January by Scholastic. What would you have done differently?
|By Jenny's co-author, Kathy Kacer|
A children's book is typically limited to a set number of pages. If more space was permitted, I would have liked to include a short description in the afterword of what happened after my granny and her siblings returned home from the residential school.
In my granny's case, she enrolled in an international private school. The school was located nearby on the shores of Lake Nipissing.
It offered her an opportunity to stay in her community with her family while still receiving an education. Her siblings also each chose their own life path. What advice do you have for beginning children's YA-writers? How about diverse writers for young people? Native/First Nations writers for young people?
Although my first book is a story about my granny who was taken from her First Nations community at a young age to live in a residential school, we need to recognize that there are countless other community stories that need to be told by Indigenous peoples.
My advice for anyone who wants to get started writing children's-YA literature is relatively straightforward.
|photo credits to Les Couchi for restoration of the photo|
Cynsational NotesDr. Jenny Kay Dupuis
- Have confidence in your abilities. Start by exploring a topic that you know about.
- Be honest and authentic. Prepare to gather information to ensure the authenticity of the story through an accurate portrayal of the people, place, time period, experiences, language, and setting.
- Be purposeful, thoughtful, and intentional. Take the time to identify what is the intended impact of the story. Writers need to continually ask themselves, "How will the readers be influenced by the characters, language, and overall messaging? How will the reader's view of their own world be expanded?
- Be authentic. Since I Am Not a Number is a children's picture book, it was important that it include authentic imagery. A relative of mine, Les Couchi, had restored a series of old family photos. The old photos helped to inform decisions when communicating with the illustrator, Gillian Newland about the hairstyles, what items to include in my great-grandfather's shop, etc. One of the old photos is included in the book and shows my granny and her siblings outside their house.
- Identify your responsibilities. Sometimes writers from diverse backgrounds have a greater responsibility that includes not just writing the story, but also educating others and transmitting knowledge about cultural, social, political, or economic issues buried within the story. In this instance, I Am Not a Number is not just about a First Nation's girl who was taken to live in a residential school, but it is a story that raises consciousness that Irene (my granny) is one of over hundreds of thousands of Indigenous children impacted by assimilation policies and racialized injustice.
- Be patient and anticipate a lengthy process that may involve information gathering, several rounds of edits, fact checking, searching for the right illustrator, etc. As such, I regularly turned to my family between edits to get their feedback and continued to listen to their memories. Some of the stories included memories of how my great-grandmother often made the best homemade meat pies, baked breads, jams, and preserves.
- Realize that your work is reflection of you. Just because something was done a certain way in the past, does not always make it right today. Be prepared to speak up and ask questions when you feel something does not feel right as you progress throughout the process, especially if you feel it feel it impacts your own ethics and values, or misrepresents a person's/group's racial or cultural identity or nation.
- Discuss participation, consent and consultation. It is essential that publishers who engage with Indigenous authors fully recognize Indigenous expertise and honour the importance of how to respectfully work in collaboration with Indigenous peoples by ensuring their full participation, consultation, and informed consent at all stages.
is of Anishinaabe/Ojibway ancestry and a proud member of Nipissing First Nation. She is an educator, community researcher, artist, and speaker who works full-time supporting the advancement of Indigenous education.
Jenny's interest in her family's past and her commitment to teaching about Indigenous issues through literature drew her to co-write I Am Not a Number, her first children's book. The book can be ordered from a favourite bookstore (Indiebound
) and online from Amazon.ca
, and Indigo
By Cynthia Leitich Smith
for CynsationsBridget Hodder
is the first-time author of The Rat Prince
(FSG/Margaret Ferguson, 2016). From the promotional copy:
The dashing Prince of the Rats–who’s in love with Cinderella–is changed into her coachman by the Fairy Godmother on the night of the big ball. And he’s about to turn the legend (and the evening) upside down on his way to a most unexpected happy ending! How did you discover and get to know your protagonist?
Is it okay for me to say that getting to know Prince Char of the Northern Realm was a bit more like spirit possession than a process of discovery?
One day I was thinking about my dissatisfaction with the story of Cinderella and so many of its modern versions--the weak, passive main character, the inexplicable behavior of her negligent father, the mysteriousness of her stepmother and the insta-love between her and the prince.
Then I kid you not, I suddenly heard a voice in my head.
It was Prince Char, telling me to write his story--the real story. He has a commanding way about him (as befits royalty), and I basically just gave in. I couldn't believe the words that were coming from my fingertips; details that were unique to his way of life, and the person he was, and the upbringing he'd been given at Lancastyr Manor in the Kingdom of Angland.
After that first otherworldly contact with Prince Char, I saw the events in the book as if they were a movie happening in front of me in real time, and I simply described what I saw and heard. It was incredible, exhilarating...and exhausting. As an autism specialist-author, how do your two identities inform one another? What about being an autism specialist has been a blessing to your writing?
Though I'm devoting myself to writing full time now, I worked for many years with children who have various learning differences, primarily on the autism spectrum.
Interacting daily with people who sometimes literally can't speak for themselves has taught me to listen, to pay attention, and be present with others in a much deeper way than I ever did before.
Human beings are wired for quick judgment based on obvious traits, like the way someone speaks or looks. But these things are not the totality of a person; they are the beginning of a story.
If you let others tell you their own stories, in their own ways, rather than making up stories about them in your head, you open up a whole new level of meaning in life.
I think that new awareness helped me go deeper into the point of view of every single character in The Rat Prince. People have asked me how I "figured out" the motivations for personalities on the fringe of the original Cinderella story, like Cinderella's father, and the fairy godmother.
The answer is: I paid attention, and I realized their situations spoke for themselves. Just like with Prince Char, all I needed to do then was write what I heard them telling me.
|Bridgit's living room|
|Joy's first full day at Brazos Bookstore|
By Joy Preble
for Cynthia Leitich Smith
Last month, I became the new Children’s Specialist at Brazos Bookstore
in Houston. I hadn’t planned on it, but when you stumble into your dream job, well, you take it!
It’s a balancing act: Selling books and buying books and merchandising and creating store events, while also writing and promoting my own novels. I’m not just an author anymore, but I’m not just a bookseller either, and this hybrid from means I’ve seen behind one curtain, and now I’m peeking behind another.
What have I learned in the past few weeks the job? Lots of things, and not so much that they are new but that I’m seeing them through a different prism.
And so the responsibility of hand-selling books I love by authors whose work I admire weighs heavy—and heavier because we are a small, highly curated independent store and space is a premium, especially so in the children’s area.
Our buyer’s philosophy is: "if two copies is good, then one is better." If I order three copies or four, then I better not only adore this book, but have made it clear to my co-workers why I love it, made sure they’re reading advanced copies and come up with a plan to sell it big. If I put a book face out or make it part of a special display or grace it with a shelf-talker that choice is mine. Already, I’ve seen how store love and hand-selling can quickly turn a small book from a small press into a bestseller.
It makes me all the more appreciative for the booksellers and librarians who’ve supported my career and talked up my books and kept copies on hand. Because I know now what happens when I see that a book hasn’t sold any copies in a month or two. I purge all or most of the copies from the shelves and replace it with something new.
|Booksellers channeling Dorothy Parker |
Of course I knew this before… in theory. But while the author part of me—the part that knows what it takes to write a book and bring it into the world—struggles with the idea, the bookseller part of me either has to come up with a plan or put it on the return shelf.
We return a lot
of books each week. Stacks and stacks of them. The author part of me will probably always feel sad about this. But that is how it works.
On the other hand, one of the grand things about working at an independent bookstore is that while we respect the Kirkus Reviews
recs and the Indie Next List
and all the rest of it, we are under no obligation to promote only the books that the reps have pushed when we take meetings.
Oh, we want to predict the big titles as much as the next guy, but we also revel in finding that hidden gem of a book and giving it its due. But I know now that this takes more than just keeping it on the shelf. It means moving it around the store, making it visible, putting it in customers’ hands, crowing about why we love and why they should read it.
My new job has revived and broadened my reading tastes because of this and colleagues who put translated Latin American novels in my hands or find themselves shocked that I had not read Kelly Link
’s latest short story collection.
I could go on and on and tell you how our particular store is owned by a co-op or how the reps often bring pizza. Or how I still have a weird series of reactions each time I see my own books in the store. Should I write a shelf-talker? Put them face out? Force my colleagues to read the latest?
Am I author/bookseller? Or bookseller/author?
Ringing up your own book for a random customer is, well, strange.
But this is enough for now. Cynsational Notes
Joy Preble is the author of several young adult novels including the Dreaming Anastasia
series (Sourcebooks), the first book of which was named an ABC Best Book in 2009; the quirky/humorous Sweet Dead Life
series (Soho Press); a contemporary road trip/family drama, Finding Paris
(Balzer and Bray/Harper Collins), which School Library Journal
called, "An intricate guessing game of sisterly devotion, romance, and quiet desperatio.”
Her latest release is It Wasn't Always Like This
(Soho Teen), which Kirkus Reviews called "a modern Tuck Everlasting
with a thriller twist."
Joy lives in Texas with her family, including a sweet but slightly unhinged basset/boxer. In between writing and working at Brazos Bookstore as bookseller/Children’s Specialist, she teaches and lectures widely on writing and literacy and is currently on faculty at Writespace Houston
By Cynthia Leitich Smith
Check out the book trailer for Snow White
by Matt Phelan
(Candlewick, 2016). From the promotional copy:Award-winning graphic novelist Matt Phelan delivers a darkly stylized noir Snow White set against the backdrop of Depression-era Manhattan.
The scene: New York City. The dazzling lights cast shadows that grow ever darker as the glitzy prosperity of the Roaring Twenties screeches to a halt.
Enter a cast of familiar characters: a young girl, Samantha White, returning after being sent away by her cruel stepmother, the Queen of the Follies, years earlier; her father, the King of Wall Street, who survives the stock market crash only to suffer a strange and sudden death; seven street urchins, brave protectors for a girl as pure as snow; and a mysterious stock ticker that holds the stepmother in its thrall, churning out ticker tape imprinted with the wicked words “Another . . . More Beautiful . . . KILL.”
In a moody, cinematic new telling of a beloved fairy tale, extraordinary graphic novelist Matt Phelan captures the essence of classic film noir on the page—and draws a striking distinction between good and evil.
See also Interview: Matt Phelan on Snow White: A Graphic Novel
from Teenreads.com. Peek: "It’s the goodness of Snow and her optimism that conquers the evil. It’s an important thing to remember in today’s world."
By Cynthia Leitich Smith
CSK Author Award Acceptance Speech by Rita Williams-Garcia from The Horn Book. Peek:
"...upon occasion, our histories are bound by peace and wonder as people of the planet Earth, looking up as we did on one night in the summer of 1969.
"In spite of some current rhetoric, very few of us on this soil can claim a separate and sole history. We are a joined people. Let’s keep looking up."
By: Cynthia Leitich Smith
(Login to Add to MyJacketFlap
, Carrie Charley Brown
, Kirsten Cappy
, Maria Gianferrari
, Paula Yoo
, picture book fiction
, picture books
, Tara Lazar
, Add a tag
By Cynthia Leitich Smith
for CynsationsMaria Gianferrari
writes both fiction and nonfiction picture books from her sunny, book-lined study in northern Virginia, with her dog Becca as her muse.
Maria’s debut picture book, Penny & Jelly: The School Show
, illustrated by Thyra Heder
(2015) led to Penny & Jelly: Slumber Under the Stars
(2016)(both HMH Books).
Maria has seven picture books forthcoming from Roaring Brook Press, Aladdin Books for Young Readers, GP Putnam’s Sons and Boyds Mills Press in the coming years. Could you tell us about your writing community--your critique group or partner or other sources of emotional, craft and/or professional support?
In the spirit of my main character, Penny, an avid list maker, here are my top five answers:
1. Ammi-Joan Paquette
I am so grateful for my amazing agent, Ammi-Joan Paquette!
Where do I begin? I owe my writing career to Joan, for taking a chance on and believing in me. She has been sage guide, a cheerleader and champion of my writing from the get go.
She’s made my writing dream come true!!
2. Crumpled Paper Critique (CP):
I would not be where I am today without my trusted writing friends and critique partners: Lisa Robinson, Lois Sepahban
, Andrea Wang
, Abigail Calkins Aguirre and Sheri Dillard. They have been such a wonderful source of support over the years, in good times, and in bad.
Yes—it’s kind of like a marriage—that’s how dedicated we are to each other’s work! They’re smart, thoughtful, insightful, well read, hard-working and the best critique partners one could hope for!
We have a private website where we share not only our manuscripts, but our opinions on books, ideas, writing inspiration and doubts. I treasure them and wish we lived closer to one another to be able to meet regularly in person. Hugs, CPers!
3. Emu’s Debuts
Like many other writers, I’m quite a shy and introverted person. If you’ve seen that classic hamster ball cartoon about introverts, that’s me! Having a book debut is extremely intimidating.
I was so lucky to have joined the ranks of Emu’s Debuts, so named for clients and debut authors affiliated with Erin Murphy Literary Agency (EMLA)
The Emu’s Debuts blog is a place for sharing thoughts on the craft of writing and illustrating, being debuts, and most importantly, helping launch our books into the world. I have since fledged, but it was so helpful, reassuring and fun to be a part of this community of very talented, kind and generous people. Check out the current flock of Emus
4. Tara Lazar
Picture book author extraordinaire, and founder of PiBoIdMo (picture book idea month), Tara has also been a generous supporter, not just of me, but for all the pre and published picture book authors and illustrators out there. Thousands of writers participate and are inspired by guest posts during PiBoIdMo
, November’s picture book idea challenge. She shares insights on craft, the field of publishing, new books, interviews, giveaways, etc. on her popular blog, Writing for Kids (While Raising Them)
, throughout the year.
When the news of the Penny & Jelly sale broke, Tara kindly offered to host me of her blog. Later, she invited to be a contributor for PiBoIdMo, and last year she also participated in my blog tour for Penny & Jelly.
5. Kirsten Cappy
of Curious City:
Kirsten’s a kidlit marketing guru and owner of Curious City. She was invaluable in sorting through the mire that is promotion.
Kirsten’s clever and creative and had so many wonderful ideas for promoting Penny & Jelly in ways that would be most comfortable for an introvert like me. She designed a Jelly banner with original art from illustrator Thyra Heder for use as a photo booth so kids could “be” Penny and pose with Jelly, as well as gorgeous postcards and business cards.
I especially love the talent show kit for library and classroom use that Kirsten designed. Please feel free to share and use it. As a picture book writer, you have succeeded in a particularly tough market. What advice do you have for others, hoping to do the same?
1. Write What You Love:
Write what you’re obsessed with. This will help you not only endure the inevitable rejections along the way, but also the winding road of revision.
My debut nonfiction book, Coyote Moon
, was released this July. It initially began as an article on suburban coyotes for "Highlights."
Well, "Highlights" rejected it, but I wasn’t ready to let go of my manuscript.
The coyotes kept howling in my head, so it morphed into a poetic picture book.
Several revisions later, it won a Letter of Commendation for a Barbara Karlin grant
from SCBWI; many more revisions later, it was acquired by Emily Feinberg at Roaring Brook Press
. And I am so in love Bagram Ibatoulline
’s illustrations. They are absolutely stunning!
2. Read. Read. Read:
Then read some more. I once read that before attempting to write one picture book, we should first read 1,000. But don’t just read them, see them as teachers, as mentor texts for your own work.
One of the most helpful exercises is to hand-write or type the words of my favorite picture book texts, to feel the rhythm of the and pulse of the story in my fingers, to get under the story’s skin—see its bones or structure and the way the muscles and sinews, rhythm, refrain and repetition, are bound together. Doing this helps us find a story’s heart, its elusive soul and helps us understand our own work.
Consider joining founder Carrie Charley Brown
, where picture books are studied as mentor texts. Get ready to dig deep!
3. Don’t Give Up!
Persevere! Keep swimming! Rejection is at the heart of this journey and it’s not usually a linear journey, it’s more circuitous, with ups and downs along the way.
Take it one day, one moment at a time, and celebrate all of your successes, both big and small.
And remember, keep improving your craft, and building your connections, you will get there!
(See #1 again)
4. Play and Experiment:
To find your writing voice, play with different points of view. Change genres. Try out different structural techniques like letters, or a diary format or lists, like I did with Penny & Jelly.
Think about the shape of your story. Is it circular? Could it be a journey? Would a question and answer format enhance it? Does it have a refrain?
I’m not an illustrator, but you can do the same kinds of things to find your visual voice—switch sketching for sewing, or painting for clay. And most of all, embrace your inner kid and have fun!
5. Reach Out:
Connect with your local and online writing community—there are so many valuable resources out there. You’re reading Cynsations, so that’s a great start! If you haven’t already joined SCBWI
and found a critique group, that’s a must. As I mentioned above, join Tara Lazar’s PiBoIdMo challenge in November, or Paula Yoo
to write a picture book a day, which takes place in May.
There’s a plethora of writing groups on Facebook. One I highly recommend is Kidlit411
, co-run by Elaine Kieley Kearns
and Sylvia Liu
. It’s such a wealth of information for authors and illustrators on writing/illustrating craft, on promotion, on submissions for agents and editors, revision—all kinds of things. And to borrow Jane Yolen
’s title, above all, Take Joy
! Cynsational Giveaway
Enter to win an author-signed copy of Penny & Jelly: The School Show and Penny & Jelly: Slumber Under the Stars. Eligibility: U.S. only. From the promotional copy:
This young and funny picture book introduces the soon-to-be star of her school talent show: Penny. Despite her desire to knock everyone's socks off, Penny's having a tough time deciding on what talent she might have. With a little help from her dog, Jelly, Penny tries out various talents—from dancing to unicycling, fashion designing to snake charming—with disastrous results. That is, until she realizes that she and Jelly have a talent to share that's unlike any other.a Rafflecopter giveaway
By Cynthia Leitich Smith
Today I'm honored to feature Monique Gray Smith
, "a mixed heritage woman of Cree, Lakota, and Scottish descent" and the author one of my favorite new titles--my official go-to gift book for 2016. What put you on the path to writing for young readers?
I never set out to write for young readers and to be honest, I never saw myself as a writer.
When Tilly: A Story of Hope and Resilience
first came out, it was marketed to adults, but then it won the Canadian Burt Award for First Nations, Métis and Inuit Literature.
This award sends 2500 copies of the winning book to schools and programs across the country, and all of a sudden, Tilly was in the hands of young people, in schools, classrooms and friendship centres and it became a YA book. Congratulations on the release of one of my favorite new titles, My Heart Fills with Happiness, illustrated by Julie Flett (Orca, 2016)! What was your original inspiration for this title?
Thank you for your kind words about My Heart Fills. W
orking with Julie was a true privilege. We spoke on many occasions about the message and illustrations; it was a beautiful collaboration.
My Heart Fills with Happiness was inspired when I was facilitating a workshop on our history and resilience at an Aboriginal Head Start program.
At lunch, the children joined us and I witnessed a Kookum (Grandma) sitting in her chair and her grandson came running over to her. He stood in front of her and she took his face in his hands and his whole body changed. His shoulders went back, his chin came up and his eyes lit up.
What I saw was the way she looked at him with such love filled his heart with happiness. This got me thinking about what fills my heart and our hearts as human beings. A couple weeks later, I was visiting with five of my dear friends and as we were talking, the book came.
Literally, in one quick write, it was done. Only one line has been changed. My next children's book, called You Hold Me Up has also been inspired by Aboriginal Head Start. This is such a powerful program in our country and now has been running across our country for over 20 years and has 50,000 graduates. Culture and Language as well as Family Involvement are two of the six components of this program and as a result it is a significant aspect to the healing of Residential Schools in Canada. What were the challenges between spark and publication, and what lessons were learned along the way?
This book was a gift from the Ancestors, I know that with every fibre of my being, Cynthia.
|Her first book!|
As I said above, there was only one line change and in the end there were three publishing companies that wanted to purchase it.
There were some miscommunications with the design between myself and Orca Publishing and as a result I think we have both learned the importance of ensuring connection throughout the project.
I know that this is a new way of relationships between author and publisher, but in these times of reconciliation, it is critical we work together instead of the publisher having all the power and decision making. What did Julie Flett’s illustrations bring to your text? (Full disclosure: I'm a fan.)
Oh Julie! As I said above, it was a privilege to collaborate with Julie. When Orca informed me it was going to be Julie Flett illustrating My Heart Fills with Happiness I literally did a happy dance in my office. Not only do I admire Julie's contribution to literature; both as an author and illustrator, but I also have profound respect for her as a human being.
I think Julie's illustrations bring the words alive. The way she was able to capture the tender nuances on facial expressions and body postures is precious!
And the cover, I have had numerous girls say to me, "look, that's me on the cover." I think that says it all! When a child sees themselves on the pages it is incredibly affirming for them and in some ways, their right to be seen.
We all need to be seen and heard, but for generations literature has not only not seen us as Indigenous people, but especially not Indigenous women and girls.
Let me simply say, Julie's illustrations make this book what it is! You also are the author of Tilly: A Story of Hope and Resilience (Sononis, 2013). Could you tell us a little about this book?
Tilly is loosely based on my life through Tilly's journey and the characters she meets they tell aspects of our history as Indigenous people in Canada. It weaves together some of our traditional teachings, culture and ways of being.
It also speaks to my personal journey of alcoholism and recovery and the beautiful relationship Tilly has with her alcohol & drug counsellor, Bea. How have you grown as writer over time?
Oh yes, I am still growing...and to be honest, hope to never stop growing. I am not a trained writer, so I need exceptional editing support.
One of the aspects where I feel I have grown the most is being willing to let the story flow through me.
I used to want to interrupt and pause the story, but now I close my eyes and type away or I share what I'm thinking into my phone. Especially dialogue between characters, that seems to come to me in the place between wakefulness and sleep. What advice do you have for beginning writers?
Pay attention. Notice your surroundings, the mannerisms of individuals, the ways people speak, how the light looks on the land at different times.
I'd also say, put yourself out there: let others read your work, send it in to contests, send it to publishers. And remember, you will get on of three responses. Yes. Not yet. Or I have something even better in mind.
How about Native American/First Nations authors?
|View of Gonzales Bay from Monique's office|
Our people are craving to read our stories and stories that they can see themselves and their lived experiences in. Write them, share them. And if writing them isn't necessarily comfortable, talk them.
On most phones, there is the microphone app on email, if you record your story and then send it to yourself by email it will come as text and voila, you have your first draft.
I would also remind you of the importance of ceremony when writing. I find it helps ground me and opens me for the story to come through me. Offerings of gratitude help me every single day, not only when I am writing, but every day.
I would also say read as much as you can and raise up and talk about those you are reading.
|#WorldKidLit Month image (c) Elina Braslina|
By Avery Fischer Udagawa
for Cynthia Leitich Smith
September is #WorldKidLit Month
, a time to notice if world literature is reaching kids in the form of translations.
(See this Book Riot list of 100 Great Translated Children’s Books from Around the World
Leading the effort are Cairo-based writer Marcia Lynx Qualey, translator Lawrence Schimel, and Alexandra Büchler of Literature Across Frontiers
I was fascinated that Qualey, a journalist for The Guardian
and other outlets, takes such interest in children’s literature. She answered my questions for Cynsations by email. As a journalist, why have you made #WorldKidLit Month a special project?
Many of the books I see promoted as “Middle Eastern literature” for children—indeed, almost all of them—are books written by Westerners and set in the region. Just so, we have floods of books by soldiers, aid workers, and journalists who spent some time in Iraq, for instance, and almost none by Iraqis.
Writing about other places is valuable, yes, but it’s another thing entirely to listen to the stories—the cadences, the art, the beauty—coming from another language.
I find it limiting and echoey to read the narrow band of “our own” Anglophone stories. We can offer our children much much more: more joy, and more ways of seeing.
What would you like the children’s literature community to gain from this annual event?
Just as with #WiTMonth (Women in Translation)
, I think it’s key to start with recognition—to recognize that we don’t translate much from around the world. We translate a bit from Western European languages, where publishers have connections, and that’s great. But the literature currently translated from the great Indian languages, from Chinese, from Turkish, from Farsi, from Eastern European languages, would fill a few small shelves. These literatures could give us so much!
I’m grateful for the bit translated from Japanese literature, which has been feeding our children’s imaginations in new ways. (And our grown-up imaginations, too.) What was your own experience of literature as a child? Was your whole world represented in stories you read?
The world outside was a mysterious and scary place, difficult and sometimes painful to understand. But the worlds as presented in my books were so tangible, they really belonged to me, they could be read and re-read.
As for translations, I particularly loved folktales from around the world, and cherished not just Italo Calvino’s collection
(which I read until it fell to bits), but Norwegian and Japanese and Arab and other folktales. The folktale is a wonderful global form where there has been much sharing from language to language, culture to culture. Have you translated any literature for children?
Not in any serious or systematic way; just helping translate picture books for a friend. I would love to, but interest in Arabic kidlit has been vanishingly small. What currently available Arabic>English kidlit translations would you recommend?
There are precious few, while children’s books translated into Arabic are many. (There are books from French and Japanese, for instance, that I know and love only in Arabic.)
You can get a translation of pioneer illustrator Mohieddine Ellabad’s The Illustrator’s Notebook
, and The Servant
by Fatima Sharafeddine (Faten, in the original, translated by Fatima herself), and Code Name: Butterfly
by Ahlam Bsharat, translated by Nancy Roberts. I would love you to read Walid Taher’s award-winning Al-Noqta al-Sooda’, but alas there is no translation! Cynsational NotesMarcia Lynx Qualey
blogs at Arabic Literature in English. Avery Fischer Udagawa
contributes to the SCBWI Japan Translation Group blog
and is the SCBWI
International Translator Coordinator.
By Cynthia Leitich Smith
for CynsationsChristian McKay Heidicker
is the first-time author of Cure for the Common Universe
(Simon & Schuster, 2016). From the promotional copy:Sixteen-year-old Jaxon is being committed to video game rehab...ten minutes after he met a girl. A living, breathing girl named Serena, who not only laughed at his jokes but actually kinda sorta seemed excited when she agreed to go out with him.
Jaxon's first date. Ever.
In rehab, he can't blast his way through galaxies to reach her. He can't slash through armies to kiss her sweet lips. Instead, he has just four days to earn one million points by learning real-life skills. And he'll do whatever it takes—lie, cheat, steal, even learn how to cross-stitch—in order to make it to his date.
If all else fails, Jaxon will have to bare his soul to the other teens in treatment, confront his mother's absence, and maybe admit that it's more than video games that stand in the way of a real connection.
Prepare to be cured. How did you approach the research process for your story? What resources did you turn to? What roadblocks did you run into? How did you overcome them? What was your greatest coup, and how did it inform your manuscript?
This all began when I told my agent, John Cusick
, that I’d write a YA book about a kid committed to video game rehab. His excitement was infectious, and I got that fluttery feeling of embarking on a new adventure. Of darkness unlit. Of stones unturned. Of all the little surprises that come with blindly slashing out with my pen and hoping for the bloody best.
That fluttery feeling vanished when I realized I hadn’t played video games for years, let alone had any clue what it was like to be addicted to them.
In order to survive as a freelance writer, my entire life had become carefully structured to eliminate time-wasters. I worked all possible hours, filled my downtime with reading, exercising, eating healthily, and not buying expensive things like the next generation of PlayStation or Xbox. I had become completely unversed in the world of video games and unhealthy amounts of playing.
I realized if I tried to write a book about video games, I’d out myself as a fraud. I’d make out-of-date gaming references, the community would eat me for breakfast, and I’d become next on Gamergate
’s death list. (Now that I know a thing or two, I can confidently say that many gaming references do not go out of fashion, and that being on Gamergate’s threat list is actually a good thing.)
Let’s face it. As novelists we’re all impostors. We don’t really remember what it’s like to have that first kiss. We’ve never reached to the back of the wardrobe and in place of fur felt pine needles. Our goal is to seem the least impostery as possible. To convince the reader that this stuff is legit.
|Christian's office & Lucifer Morningstar Birchaus (aka writer cat)|
Still, the idea was good. Video game rehab? I’d never seen that before, and that’s a rare thing in any medium. So I needed a plan. My plan was this: get addicted to video games.*
So out with work!
Sod off, schedules!
Be gone, exercise routines!
Forget healthy eating and gluten intolerance. Forget that coffee turns me into an absolute monster and dairy turns my insides into the Bog of Eternal Stench!
I bought myself a month and turned my life into that of a sixteen-year-old video game addict on summer vacation. I drank coffee from noon (when I woke up) until three in the morning when I went to sleep. (My character drinks energy drinks, but one can only go so far, dear reader.) I slept too much. I didn’t exercise. Sometimes I put whiskey in my morning coffee. I only read gaming news, but only if I really felt like it and only if I had to wait for a game to download.
Mostly, I played video games. I played a lot
of video games. I continued to play throughout the duration of writing the book, but in October 2012, I played so much it would have made the characters in my book quirk their eyebrows.
I was trying to get addicted. All of my dopamine release came from beating levels, leveling up characters, downloading DLCs. When I went to the bathroom, I brought my iPad with me and played Candy Crush. (Considering what my new and worsened diet was doing to my digestion, I played a lot of Candy Crush.)
I beat Dark Souls. I beat Sword & Sworcery. I played Starcraft and Hearthstone and Diablo III. I bought a Nintendo 3DS and played through all the Mario and Zelda games I’d missed out over all the years. (Definitely the highlight.) I got lost in world after world, and adulthood as I knew it became a faint haze around an ever-glowing screen.
And guess what? It was hard.
You’d think it would be easy doing as little as humanly possible, only filling one’s time with video games.
Video games are fun. Many are designed to keep you falling into them again and again, to captivate you enough to stick around for hours on end. But I had so carefully trained myself to not be that way so I could write.
During this indulgent month of October, I felt lazy. I felt sick. I felt jittery and uncomfortable in my skin and a little voice inside my head kept saying, “No, no, no. Stop doing nothing. You’re dying.”
I was disgusted with myself. I liked the games I was playing, but they didn’t bring the same satisfaction of selling a short story.
Like I said, it was really hard. But it was nothing compared to what I was going to embark on next.
I ended my month of terror with a bang. On Halloween night, at 11:56 p.m., I drank four shots of whiskey and became a vomiting sprinkler on my friends’ front lawn. (Apologies, Alan and Alan).
My girlfriend at the time drove me home and poured me into bed. I slept for thirteen hours. . . and when I awoke late afternoon on Nov. 1, I began something new. I didn’t put on the coffee pot. I didn’t boot up the PlayStation to see if any system updates needed downloading. I didn’t bring the iPad to the bathroom.
Instead, I entered Phase 2 of my research.
The character in my book was going to rehab, where all creature comforts would be taken away from him. And so I spent the entirety of November without sugar, caffeine, music, phone, books*, internet*, or of course, video games.
I called it my no-nothing November.
(Er, no stimulants, at least. But that isn’t quite as catchy.)
After surviving a two-day hangover unaided by stimulants of any sort, I crawled out of bed . . . and I went out into the world. I ran in the morning. I talked to people at coffee shops while sipping herbal tea. I took ukulele lessons. I learned how to cross-stitch. I cleaned Alan’s and Alan’s puke-covered lawn (just kidding I didn’t; I just realized this would have been a nice thing to have done (sorry again, Alans)). I studied life without my nose buried in a book.*
And mostly, I wrote. I wrote about a kid who had all of his comforts taken away and was forced to earn points through a sort of gamified therapy. I don’t know if any of this actually worked or not . . . I’m not sure if it really added anything to the book.
So, um, take that into consideration before flying off the rails for your own book.
*I use the term "addicted" lightly. Read Cure for the Common Universe
for a full explanation.
**The most difficult, by far.
***I also didn’t surf the internet, save my email—for emergencies and so I wasn’t fired from my job.
****Ug, this is starting to sound like some sort of new age instruction manual, which I swear it is not; I just wanted to see what it would be like to be the character in my book. As a contemporary fiction writer, how did you deal with the pervasiveness of rapidly changing technologies? Did you worry about dating your manuscript? Did you worry about it seeming inauthentic if you didn't address these factors? Why or why not?
Video games are the fastest growing medium in the world, so it’s pretty difficult to remain relevant when writing about current games. Fortunately, there’s a persistent spine in gaming (your Blizzards, your Nintendos, your Easter eggs). I tried to focus on those mainstays and accept the fact that no matter what I did I would probably piss off and please an equal number of gamers.
If I had attempted to copy the language of gamers verbatim, I would have set myself up for failure. (Although having a game-addicted roommate during the edits of this book definitely helped me sprinkle in some legit jargon.) That’s why I like to follow the Joss Whedon
rule of leading the charge on language instead of attempting to copy it.
For the dialogue, I ended up stealing a lot of hilarious lines from my friends—truly iconic things that I lifted straight out of real-life conversations and put into the text. During a rousing game of racquetball, a friend aced me, stuck his racquet in my face, and screamed, “Nobody puts princess in a castle!” A barista once mentioned how stepping on a LEGO was a lot more rage inducing than playing Grand Theft Auto. And a previous student told me about a—ahem—particular sensory combination involving Nutella. I blushed . . . and then I stole it.
I stole all of these with everyone’s permission, of course.
By Cynthia Leitich Smith
Congratulations to fellow Vermont College of Fine Arts
faculty member Uma Krishnaswami
on the release of Book Uncle and Me
, illustrated by Julianna Swaney
(Groundwood, 2016)! Note: so far, the book has received starred reviews from School Library Journal and Kirkus Reviews
. From the promotional copy:
Every day, nine-year-old Yasmin borrows a book from Book Uncle, a retired teacher who has set up a free lending library next to her apartment building. But when the mayor tries to shut down the rickety bookstand, Yasmin has to take her nose out of her book and do something. More News & ResourcesAuthor Interview: Deborah Hopkinson
But what can she do? The local elections are coming up but she’s just a kid. She can’t even vote!
Still, Yasmin has friends — her best friend, Reeni, and Anil, who even has a black belt in karate. And she has grownup family and neighbors who, no matter how preoccupied they are, care about what goes on in their community.
Then Yasmin remembers a story that Book Uncle selected for her. It’s an old folktale about a flock of doves trapped in a hunter’s net. The birds realize that if they all flap their wings at the same time, they can lift the net and fly to safety, where they seek the help of a friendly mole who chews a hole in the net and sets them free.
And so the children get to work, launching a campaign to make sure the voices of the community are heard.
An energetic, funny and quirky story that explores the themes of community activism, friendship, and the love of books.
by Megan Smith from ALSC Blog. Peek: "There were many stories I could have told of other sailors and submarines, but I feel the ones featured help convey what it was like for the young men who went to war in the Silent Service."
Looking for a job in children's-YA literature? Paper Lantern is hiring a full time marketing assistant
in New York City and The Horn Book is hiring a full time assistant/associate editor
in Boston.Picture This Diversity Inforgraphic: Follow Up
from Sarah Park. Peek: "Since September 14, the blog post has had over 36,000 views; my initial tweet made over 17,000 impressions; my Facebook post was shared over 10,000 times..." See also A Joyful Diversity Collection
by Elizabeth Bluemle from Publishers Weekly.Missing From the Shelves: Book Challenges and a Lack of Diversity in Children's Literature
, a dedicated issue from PEN America. Peek: "...an examination of current patterns of challenges to children’s books reveals that a large portion relate to children’s and young adult books that are either authored by or are about people of color, LGBTQ people, and/or disabled people (referred to in this report as 'diverse books')..." See also School Library Journal on Self-Censorship
.Magazine Credits & Book Submissions?
by Deborah Halverson
from Dear Editor. Peek: "If you’re a debut novelist, you can stand to cite evidence of your chops and professionalism."10 Tips for Writing Through Family Stress
by Barbara Claypole White
from Writer Unboxed. Peek: "Control your social media. Don't let it control you."Children & Young Adult Books Featuring a Child with an Incarcerated Parent
: a bibliography compiled by Mitali Perkins
from Mitali's Fire Escape.The Sibling Reality: When Picture Books Stop Being Nice and Start Getting Real
by Elizabeth Bird
from A Fuse #8 Production at School Library Journal. Peek: "...picture books that pick apart the nature of sibling relationships in interesting ways. I don’t mean fighting. I mean that crazy pushmepullyou of loving each other to the extreme mixed with scream-at-the-top-of-your-lungs annoyance."How I Got Into Publishing: Luana Horry, Editorial Assistant at HarperCollins Children's Books
from CBC Diversity. Peek: "It felt important to me to build a career in an industry where I could make a difference in the lives of children like my niece, who deserve better than a peripheral reading and cultural experience."Become a Story Genius: How Your Character’s Misbelief Drives The Plot
by Lisa Cron
from Writers Helping Writers. Peek: "What readers are wired to come for is insight into what people do when push comes to shove and, most importantly, why they do it. We’re looking for inside intel into human nature, the better to navigate this scary, beautiful world ourselves."The Cooling Off Period: Handling Manuscript Feedback Effectively
by Mary Lindsey
from QueryTracker.com. Peek: "After one-to-three days, I've had time to process the suggestions logically, rather than react emotionally." Note for #ownvoices writers: Take the time, set aside your ego, and thoughtfully consider feedback. But don't bow to direction that minimizes your identity-grounded sensibility and/or literary traditions in favor of the reader's. (Time and again, I've seen mentees struggle with these dynamics.) With agents/editors, proactively and professionally engage in the conversation, explain where you're coming from and why. Anyone who's a good match will be open, appreciative and respectful of your perspective. (Ideally, get feedback and discuss prior to signing with an agency or signing a publishing contract to get a feel.) I've been blessed with insightful and sensitive editors at HarperChildren's and Candlewick as well as my rock-star agent at Curtis Brown Ltd. I personally know many
terrific editors and agents. They're out there. Keep submitting!The Powerful Role of Coach in the Latinx Community
by Claudia Meléndez Salinas
from Latinxs in Kidlit. Peek: "They’re not just coaches: they’re role models, mentors, friends. They’re the glue of after-school programs, the difference between wholesome entertainment and life in the streets."Interview with Zetta Elliott
from Rich in Color. Peek: "I don’t think about book sales that much; I want the books to exist and to be available to those who are looking for mirrors (see below). I’m leading more workshops on indie/community-based publishing these days, and that makes me feel visible and valued because I’m showing other aspiring writers how to make their own books outside of the traditional system."Author Cori McCarthy Discusses Her Book Being Optioned
by Beth Bacon
from Digital Book World. Peek: "As someone with a screenwriting degree, I feel uniquely qualified to say to Sony, 'I think you should hire a screenwriter.'"Alert! A New Kind of Bigotry: One-Star Reviews on Goodreads
by Lee Wind
from SCBWI. Peek: "The review copies aren't out yet. But suddenly the book's Goodreads account had more than 1,500 ratings of the book. The book that almost none of them
, unless they were personal friends with the author, could have possibly read." Note: hateful online harassment, targeted at female children's-YA authors, especially those who're women of color, is becoming increasingly frequent. Not all of us go public with our stories. Please show kindness toward one another within our children's-YA literature community. Watch out for each other out there.Banned Books Week Roundtable: The Evolution of Censorship
by Hannah Ehrlich from Lee & Low. Peek: "I try to balance writing about controversial issues by writing with young people’s best interest in mind. That is, I always try to approach these topics honestly, but also respectfully and responsibly."This Week at CynsationsMore Personally
People keep asking how my new book is coming. I'm so honored by the enthusiasm! Let me assure you that a YA manuscript will be zinging through the Internet to Candlewick Press on Monday morning. I know
I'm in the last stages of polish for the first-round submission, which--for me--means a writer friend (in this case, Sean Petrie
) is reading aloud the whole manuscript, start to finish. Then I'll key in changes and put together a note for my editor. (You should hear him do voices in dialogue; hilarious!)
On Twitter @CynLeitichSmith
, I mentioned doing the read aloud and got a few questions and comments in reply. So here the scoop:
By the time a manuscript reaches submittable level, I've read it so many times that I tend to see what I meant to write, what makes the most sense, to the point that my mind's eye will fill in missing words. Also, hearing another writer read the text will alert me oddities of cadence or awkward language. What's more I benefit from hearing the reader's emotional reaction, word by word and page by page, over the course of the novel.
I highly recommend doing this twice during the novel-writing process. Before initial submission and after revising informed by the editor's feedback, right before you turn in.
What else? My other highlight of the week was a Q&A with William Shatner
, followed by a showing of "Star Trek II: The Wrath of Khan"
last Friday night at Austin's historic Paramount Theater.
Mr. Shatner was engaging and funny. He spoke at length about his experiences working with and his admiration for Leonard Nimoy
and Ricardo Montalban
(and his pecs).
He seemed a bit embarrassed by his early overacting on the small screen and explained it as a byproduct of his stage training. He'd been used to projecting to a live audience rather than for a camera that would magnify his every word, gesture and expression. Which makes total sense.
He likewise felt the need to apologize in an affectionate way for the special effects of the film as compared to today's standards. But then he fully embraced the suggestion that the overall effect was "charming," that what the crew had been able to do, given the limits of the era was "inspiring." I strongly agree.
What else? I am still thinking about a link I featured last week, We Are Still Here: An Interview with Debbie Reese
from NCTE. More specifically, about this part:
"Tim Tingle (he’s Choctaw) talks about visiting a school in Texas where he read from his outstanding book about the Trail of Tears, How I Became a Ghost. The teacher apologized to him, saying that she had to teach kids that Choctaws are extinct because that is the answer they’ll need on a test she has to give them."
Tim and I are both Native authors, Texas authors. I greatly value him and his books. Please take a moment to visit Choctaw Nation
.You'll find a great people with a past, a present and a future
View Next 25 Posts
By Cynthia Leitich Smith
From Barbara Seuling's Author Website
: "...children's book editor, author, illustrator and teacher. For several years Barbara worked as an editor for Delacorte Press and Yearling Books at Dell Publishing Company. Later, she moved to J. B. Lippincott & Co.
"As author and/or illustrator of her own books, Barbara became a featured speaker at many educational and writers' conferences and served for many years on the Society of Children's Book Writers & Illustrators
' Board of Advisors. She taught writing at Bank Street College
and at The Writer's Voice
in New York City before establishing The Manuscript Workshop in Vermont..."From SCBWI
: "One of the SCBWI's earliest members her sense of humor shone through in the many books she both authored and illustrated. Two of her more popular series were her Robert
books, and her wildly successful Freaky Fact series, including Elephants Can't Jump and Other Freaky Facts About Animals
(Dutton, 1985)."Obituary: Barbara Seuling
by Shannon Maughan from Publishers Weekly. Peek: "Outside of her own children’s book projects, Seuling used her extensive publishing experience to lead small private writing workshops. Her adult nonfiction title How to Write a Children’s Book and Get It Published
(Wiley, 2004), first released in 1984, was considered a key read for aspiring authors and is currently in its third edition."Cynsational Notes
|I read the 2nd Edition|
|Popular series by Barbara|
In 1995, when I decided to begin writing for young readers, I was living in downtown Chicago. I didn't know anyone in the business. I'd never heard of SCBWI.
I walked to a bookstore on Michigan Avenue, to a shelf of writing craft and publishing information books in the basement, pulled a dozen or so titles, sat down on the floor and began looking through them. I bought two or three. Barbara's
(Scribner, 1991) was the one that most clicked.
I read it cover-to-cover, highlighter in hand, and then I re-read it. I learned from the book, formed a plan for moving forward with the dream that would become my life's work.
Thank you, Barbara, for helping me take the first steps of this journey.