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Me, at a Hats Off to Women's conference.
I am always looking for some great articles to share with my readers and this is one that I felt like sharing. It is by Noelle Sterne and was featured in the September 16, 201o issue of The Writing World @http://www.writing-world.com
I highly recommend subscribing to their newsletter.
Below is a little about Noelle Sterne and a brief excerpt for the readers to see if the article appeals to them.
Writer, editor, writing coach, and consultant, Noelle Sterne holds the Ph.D. in English and Comparative Literature from Columbia University and publishes in writers’ and mainstream magazines. Her articles have appeared in Archetype, Children’s Book Insider, Pure Inspiration, The Write Place At the Write Time, Writer’s Digest special issues, Writers’ Journal, and The Writer. Her short storyabout a boy with healing powers appeared in the Star Stepping Anthology (2008). Noelle is currently working on a collection of essays offering candid counsel and relentless support to writers: First You Find Your Desk: Start Writing and Keep Writing with Less Agony and More Joy.
As a children’s author, do you know you can use more resources to publicize your book than mainstream authors? I discovered many of these avenues after the publication of my children’s book Tyrannosaurus Wrecks: A Book of Dinosaur Riddles (HarperCollins). This book, in print for eighteen years, was featured on the first
dinosaur show of PBS-TV’s Reading Rainbow, which continues to air
and is now on DVD.
Great newsletter from Darcy Pattison that arrives in my email box Check it out and subscribe.
8 Ways to Enrich Your Character: FICTION NOTES
| 8 Ways to Enrich Your Character | | |
Character Revision: 8 Ways to Jumpstart a Make Over
You have a first draft, but you realize that your character needs work. How do you retrofit a character when you revise?
I don’t think of a personality transplant. Instead, I try to add to and enrich a character. Here are 8 suggestions on how to revise your novel’s character.
Http://www.darcypattison.com
is the url for Darcy’s website so you can subscribe to her newsletter. What better way to learn than to learn from someone who is a talented writer.
Mentor Texts: Novels to Learn From: FICTION NOTES
| Mentor Texts: Novels to Learn From | | |
I’m finally — after two major life events, a grandchild and my daughter’s wedding — ready to start a new novel. I’ve found two mentor texts that I’m hoping will show me something about how to proceed.
Novels to Imitate and Learn From
Educators often use mentor texts when teaching writing to kids. The idea is to choose texts that in some way model the type of writing you want as a result. This means you need a good vision for the end result, or the mentor texts you choose won’t help.
For my new novel, I know that I”ll have quite a few characters and that the POV will probably change often; each section might be quite short; that I might be playing with 3rd person and omniscient POVs. I’ve been looking around and found two that are interesting in this respect.
The first is the 1979 Newbery book, The Westing Game by Ellen Raskin. It features over a dozen characters; it moves in and out of omniscient and 3rd; it has very short sections. Interestingly, Kathi Appelt’s Newbery Honor book, The Underneath, also features multiple characters and she us
*8 Good Writing Practices* By Neil Gaiman.
Special thanks to Judith Hans-Price for sharing the article with Iowa SCBWI listserv. There are few better than Neil to use as a expert in the writing field.
*8 Good Writing Practices*
1. Write.
2. Put one word after another. Find the right word, put it down.
3. Finish what you’re writing. Whatever you have to do to finish it,
finish it.
4. Put it aside. Read it pretending you’ve never read it before. Show it
to friends whose opinion you respect and who like the kind of thing that
this is.
5. Remember: when people tell you something’s wrong or doesn’t work for
them, they are almost always right. When they tell you exactly what they
think is wrong and how to fix it, they are almost always wrong.
6. Fix it. Remember that, sooner or later, before it ever reaches
perfection, you will have to let it go and move on and start to write the
next thing. Perfection is like chasing the horizon. Keep moving.
7. Laugh at your own jokes.
8. The main rule of writing is that if you do it with enough assurance
and confidence, you’re allowed to do whatever you like. (That may be a rule
for life as well as for writing. But it’s definitely true for writing.) So
write your story as it needs to be written. Write it honestly, and tell it
as best you can. I’m not sure that there are any other rules. Not ones that
matter.
I subscribe to this newsletter and think others would enjoy it.
Writing Contest Tips
By Ginny Wiehardt, About.com Guide
See More About: to read more and finish the article- follow the above link.
Most
writing contests involve at least two tiers of judges. Preliminary judges whittle down the stack of applications into a manageable group, usually twenty to fifty applications, for the main judges, who then read the applications carefully. The good news is that most entries eliminate themselves in the preliminary phase, either by failing to follow the rules or by careless writing: only a small percentage make even this most rough cut. What can you do to make that your application makes it? Read on.
1. Think About Your Title.
It can be the hardest part, but it’s also the first thing, after the cover letter, that the preliminary judges see (and in blind contests, it’s the first thing the main judges see). That first impression will color the way they view your work, and they way they might feel about passing your manuscript on.
2. Proof Your Entry.
No matter how many contests you’ve won or books you’ve published, have someone else read over your entry. Grammatical mistakes and misspelled words give the impression that you decided to apply yesterday. Maintain a professional image: you never know who is going to see your application.
Preparing a Winning Entry to Writing Contests
0 Comments on Writing Contest Tips. as of 1/1/1900
Posted: 15 Jun 2010 12:48 PM PDT
I had a wonderful time at the SCBWI NJ conference, and hopefully will even sign a client or two. I was busy critiquing when David delivered his
State of the Children’s Book Publishing Industry talk but now that Kathy has it up on her blog I wanted to share it all with you.
Art by the fabulous Jill Newton
Posted: 16 Jun 2010 10:54 AM PDT
Writing a book is a serious commitment. It’s something that just about everyone thinks about doing at one time or another, but actually sitting down to devote hundreds of hours to one task takes a big dream and lots of elbow grease.
Whether we came to it early in life or late in life, chances are there was someone along the way who crystallized that feeling of, “Hey, I want to do this” or, better yet, “Hey, I can do this.”
Who is the most influential person (or people) who set you on this path? Was it an author, a mentor, a loved one?
My most influential writing personages have been Roald Dahl, who made me want to be a writer when I was a kid (I subsequently moved onto other dreams), and my wife, whose support was there whenever I battled the Am I Crazies.
My thoughts on who influenced me would be the authors of the Velveteen Rabbit and Little Women. Who influenced you?
As most of my regular readers know, I love it when I read something that speaks to me as a writer. I love to point others to articles/blog posts, etc. that I think will be beneficial.
This one is from Rachelle Gardner’s site @ http://cba-ramblings.blogspot.com. Be sure to go to there and read all of her blog entries.
Rachelle’s blog post for June 2, 2010.
Today we’re going to talk about the one-sentence summary, also known as a logline, a hook, or a one-sentence pitch. (It is not a tagline, however.)
What: About 25 words that capture your novel, memoir, or non-fiction book.
Why: To get someone interested in reading your book.
When to use it: The start of a query, or anytime someone asks you, “What’s your book about?”
What it does: A one-sentence summary takes your complex book with multiple characters and plotlines and boils it down into a simple statement that can be quickly conveyed and understood, and generates interest in the book.
 It’s my humble opinion, of course, but one could learn alot from subscribing to this newsletter. I know I do. |
http://www.darcypattison.com
Subscribing to a good newsletter is a great way to acquire the skills needed to grow as a writer. The reader has the opportunity to benefit from the journey of a more experienced writer. With a newsletter it comes right to your email. You can print it off and take it with you to read at your leisure or you can put it in an email file to look at later.
Darcy Pattison ([email protected]) on behalf of Darcy Pattison ([email protected])
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| Can you say that in a novel? | | |
Are there untouchable topics in literature? No, of course, not. But there are topics that are difficult to do well, or it feels like you are preaching.
You know the ones: alcoholism, abortion, medical ethics, underage drinking, etc. These are hard to put into a story or novel and have it work.
Dealing with Flash point, Difficult Topics
I’ve been listening to Mary E. Pearson’s novel, The Adoration of Jenna Fox and she does a stunning job of addressing medical ethics. It’s reminiscent of Peter Dickinson’s 1989 novel, Eva, but takes the discussion in new directions. Here are some of the things she does right as an author treading lightly.
Character. The novel works because the character is front and center. This is above all a character novel, with all the ethical dilemma from the medical “miracle” taking place within the character. She IS the ethical problem and has to resolve how she feels about herself. So, it’s not a theoretical issue; it’s an issue of
My most recent article, one of five articles written the last two years, is published on the Institute of Children’s Literature Rx for Writers @ http://institutechildrenslit.com/rx/ws03/blocking.shtml.
I would recommend to new writers that you subscribe to the newsletter. (The link to subscribe it at the bottom of my article.) There are a lot of interesting articles found in the archives which could help them learn more about writing. Some of the writers who have contributed to the index include: Paula Morrow, Debra Vetter, Harold Underdown, Lois Lowry, Uri Shulevitz, Kristi Holl, Jennifer Reed, Kent L. Bown, Jr., Katherine Patterson, Dori Butler, Linda Sue Parks, Verla Kay, Jan Fields, Jane Kurtz, and Stephen Roo.
I have two more scheduled to appear in the newsletter, one in November and another in December.
I have been working on building my skills in regards to pitching, when I came across this in my email. Nathan’s way of putting what “Voice” is resonated with me. Be sure to sign up for this email newsletter.
Nathan Bransford – Literary Agent
Posted: 10 May 2010 02:14 PM PDT
Voice is one of the most difficult writing terms to define and pinpoint. We might know it when we see it, but what’s voice made of, really? You hear so often that agents and editors want “new voices” and “compelling voices” and voice voice voice. So what is voice? How do you cultivate it? And how many rhetorical questions do you think can I fit into one post?
Voice, at its most basic level, is the sensibility with which an author writes. It’s a perspective, an outlook on the world, a personality and style that is recognizable even out of context. You could drop randomly into a David Sedaris story or an Ernest Hemingway novel and probably guess the author within a few paragraphs because they have strong, unique voices. An author’s voice is often imitated (think: Tolkien), but a truly original voice can never be duplicated.
So what makes a good voice? How do you cultivate one?
Among the essential elements:
Style: At its heart, voice is about style. And not just style in the sense of punctuation and how the prose looks on the page (though that can play a role), but style in the sense of a flow, a rhythm, a cadence to the writing, a vocabulary, lexicon, and slang the author is drawing upon. A voice can be wordy (William Faulkner) or it can be spare (Cormac McCarthy). It can be stylish and magical (Jeanette Winterson) or it can be wry and gritty (Elmore Leonard). It can be tied to unique locations (Toni Morrison) or it can be almost wholly invented (Anthony Burgess). But whatever the flavor of the writing, a good voice has a recognizable style.
Personality: A good voice has a personality of its own, even when the novel is written in third person. There’s an outlook that is expressed in a voice. It’s a unique way of seeing the world and choosing which details to focus on and highlight and a first draft of how the reader will process the reality of the book. Think of how CATCH-22 captured the absurdity of WW-II by boiling down irrational rules and presenting them at face value, or Step
Lisa Graff, one of the speakers at the recent SCBWI conference, suggested when you are setting up your main characters in your novel, you should consider the following things.
1. Voice
2. Personality
3. Goals
4. Conflicts
5. Ways to overcome the conflicts
6. Emotional Arc
7. Narrative Arc
8. Setting
Lisa Graff, former Associate Editor at Farrar, Straus and Giroux, spoke to the SCBWI members about the importance of distingushing their project from the hundreds of other project that land on an editor’s desk. She covered the need for a fabulous cover/query letter that would catch an editor’s eye.
For those who are not sure what the difference is between a query and a cover letter Lisa provided a simple explanation. She said for the most part they are the same letter. The difference is that the cover letter is sent with a submission. Query letter do not include a submission for the editor to consider for publication.
Prior to selecting the publishing house to query or submit a cover letter and submission to, it is important to do your research. Finding the right publishing house will increase your chance of getting an acceptance. Go to the library or a bookstore to see what books are selling. Check out the publisher’s catalogs. Get a copy of the Writer’s Market Guide or other similar books to see what publisher is accepting submissions. Once you’ve determined what publisher you think fits your work best, be sure to follow their specific guidelines.
Now you are ready to write your letter.
Lisa answered the question that is often on the mind of a new writer, What should I include in my cover letter?
First, she said, you should make your cover letter your professional introduction to an editor. Be concise but brief, not more than a page of text. Editors are busy people, just like us.
In your letter, you should describe yourself and your project. Your letter should detail your publishing history as well as demonstrate that you are a rational sane person who they would love to do business with.
Then, you should wrap up your letter with a gracious thank-you.
Ammi-Joan Paquette, Erin Murphy Literary Agency, was one of the speakers at the Iowa SCBWI conference this past week. She revealed the type of books that she is currently looking for: a lyrical voice, tight characters and complexed character in character-driven/plot-driven books in the genres of Middle-Grade and YA, though she does picture books occasionally.
Eight Ways to Make your Manuscript Stand Out is what her presentation focused on.
1. Find your voice as a writer. A new writer might ask What is voice and How do you find it? Ammi-Joan expressed it best by explaining it is the writer’s own unique way of expressing themselves. This happens when a writer puts themselves inside their character head. Ways that you can develop your voice can include: determining whether or not your character will be in the first or third person or writing a diary from your first character’s point of view. You can brainstorm and write down what you come up with for your mc.
2. Be unique like everyone else. It might sound strange but finding out what you are all about just might make your story stand out. Knowing yourself will give you a unique angle to your work. A mother who is raising a child with Aspergers knows what it is like to deal with those challenges. A writer who is a single dad raising a daughter knows how hectic that can be to navigate the different ages. They bring their own experiences to their writing.
3. Start with a bang. Your title should be something that catches an editor’s eye. It is the first thing that they will read from your submission. It should evokes a promise of what is to come in the book.
Then, it should be followed by a great first line. For a pb book, it gets your reader to the gist of what the story is all about. Given the limited word count, getting to the gist is crucial.
A great first paragraph sets up the conflict. It tells the reader what the main character desires. It lets the reader know about the setting of the story.
In a novel’s first chapter, the writer should foreshadows events that will come the novel in chapters that follow. It should make the editor as well as the reader want to continue reading.
4. Do you want your manuscript to be the best it can be before you send it out for an editor to consider? Ammi-Joan Paquette suggests getting involved with a critique group that you trust. The second or third set of eyes can see things the writer might miss.
5. Accept the value of revision. Writing is a process. Revision time is a time to explore the various options or techniques that you will use to construct your character, plot, conflicts: things like first person vs. third person. Consider giving your reader a visual break by using a variety of sentence lengths. Mix in some dialogue, or provide some white space.
6. Consider the “tone” of your submissions. Evaluate the readability of your manuscript. Is your main character real? Do they talk like real people talk? Can you see the characters as real people?
7. Raise the stakes. Think about the worst thing that could possibly happen to your character. Make it exciting. Make sure that you fulfill the promise that the beginning of your story gave to your reader.
8. Let it seep. Once you are done revising, you should leave your manuscript alone for a few days, a week or even a month. Give it time. It allows you to come back and look at your work with fresh eyes.
8b. Ammi-Joan added a post-script. She said to give your submission a sense of depth. Have it entertain the reader, yet bring something else to the table.
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Be sure to check out www.kathytemean.com. She has such great advice.
Dialogue usually is a major part of your story, so making sure your dialogue works is very important. Here are some things to consider when going through that first draft.
- 1. Are you punctuating dialogue correctly, so that you neither confuse nor distract your readers?
- 2. Are your characters speaking naturally, as they would in reality, but more coherently?
- 3. Does every speech advance the story, revealing something new about the plot or the characters? If not, what is its justification?
- 4. Are your characters so distinct in their speech–in diction, rhythm, and mannerism–that you rarely need to add “he said” or “she said”?
Dialogue has to sound like speech. Most people don’t speak precisely or concisely enough to serve the writer’s needs. Good dialogue has several functions:
- To convey exposition: to tell us, through the conversations of the characters, what we need to know to make sense of the story.
- To convey character: to show us what kinds of people we’re dealing with.
- To convey a sense of place and time: to evoke the speech patterns, vocabulary and rhythms of specific kinds of people.
- To develop conflict: to show how some people use language to dominate others, or fail to do so.
Dialogue can convey character, but check to make sure you haven’t gotten bogged down in chatter that doesn’t advance the story.
Dialogue that conveys a specific place and time can become exaggerated and stereotyped. Be careful.
Dialogue that develops conflict has to do so while also conveying exposition, portraying character, and staying true to the time and place.
Some Dialogue Hazards to Avoid:
- Too much faithfulness to speech: “Um, uh, y’know, geez, well, like, well.”
- Unusual spellings: “Yeah,” not “Yeh” or “Yea” or “Ya.”
- Too much use of “he said,” “she said.”
- Too much variation: “he averred,” “she riposted”
- Dialect exaggeration: “Lawsy, Miz Scahlut, us’s wuhkin’ jes’ as fas’ as us kin.”
- Excessive direct address: “Tell me, Marshall, your opinion of Vanessa.” “I hate her, Roger.” “Why is that, Marshall?” “She bullies everyone, Roger.”
Some Dialogue Conventions to Consider:
Each new speaker requires a new paragraph, properly indented and set off by quotation marks.
“Use double quotations,” the novelist ordered, “and remember to place commas and periods inside those quotation marks.”
“If a speaker goes on for more than one paragraph,” the count responded in his heavy Transylvanian accent, “do not close off the quotation marks at the end of the first paragraph.
“Simply place quotation marks at the beginning of the next paragraph, and carry on to the end of the quotation.”
Use “he said” expressions only when you must, to avoid confusion about who’s speaking. Try to avoid signaling increasing tension by moving from “he said” to “he snapped,” to “he snarled,” to “he bellowed furiously.” The dialogue itself should convey that changing mood, and make such comments needless.
Action as well as speech is a part of dialogue. We expect to know when the speakers pause, where they’re looking, what they’re doing with their hands, how they respond to one another. The characters’ speech becomes just one aspect of their interactions;
5 Tips on Maximizing a Writers’ Conference
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Planning to attend a writing conference? Read these five tips to ensure an experience you’ll savor long after you’ve left the hotel lobby.
1. Choose sessions you find interesting
It’s no secret you need to know how to write a sparkling query, but you’re intrigued to find out how journaling can release your creative muse. Go for the muse. Hundreds of websites will be waiting at home to tell you how to write a query letter. Whenever you attend a lecture or reading, you never know what you’ll take away. That’s the beauty of being open to whatever information the speaker decides to bring.
2. Resist taking copious notes.
You’ll retain more when you are focused on listening, not rushing to take down every word leaving the speaker’s mouth. If your type-A personality insists, jot down inspiring bullet points you can hang above your desk. If you waste time taking a ton of notes, more likely you’ll miss the most important things being said and lose an opportunity to engage in the moment.
3. Mingle.
Walk around and talk with people between sessions. Find out what other writers are working on and get inspired by their imagination. During mea
I subscribe to many newsletters and this is one of them. Mitch Albom is one of my most favorite authors. I loved his The Five People You Meet in Heaven and Tuesday’s With Morrie.
About Books & Literature: It’s Spring. You can tell by the Holidays.
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From Megan Romer, your About Books & Literature Editor
Where I live on the Gulf Coast, it’s pretty warm and nice right about now. Not too hot, not too humid, just right. Reports from my family in Upstate New York, though, indicate that spring may not have sprung everywhere quite yet. However, spring holidays abound, especially for those of the Jewish and Christian faiths.
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Mitch Albom – ‘Have a Little Faith’ | | | |
Need a little something inspirational for this holy week? Try Have a Little Faith, the latest book from Tuesdays with Morrie’s Mitch Albom. It’s a b
http://www.guidetoliteraryagents.com/blog/
Demystifying Contracts: What Every Writer Should Know
Posted by Chuck
At the SCBWI 2010 Winter Conference, agent Edward Necarsulmer IV (of McIntosh & Otis) gave a presentation called “The Real Deal about Contracts.” At McIntosh & Otis, Necarsulmer handles his clients’ contracts with publishers. Other agencies have contracts departments. Either way, both agents and authors should understand the ins and outs of contracts and the process of negotiating rights with a publisher.
What’s a contract?
At its most simple definition, a contract is a legal document saying what the publisher is going to say or do, and what you, the author, are going to say or do. It should be fair and clear on both ends.
Oftentimes, a publishing house will offer a basic contract to an author, and it’s the agent’s job to negotiate better (and more specific) terms. The agent explains everything to the author and discusses his/her options before continuing negotiations. With each revision, the agent goes through the contract with line-by-line vigilance, making sure the author has what he/she needs and what the publisher promised.
How money works
The most obvious part of a contract involves negotiating author advances and royalties. Of course! Check out this post for complete details.
Primary rights
Primary rights include the original edition of the book and paperback reprint rights, but they may also cover foreign territories/translation rights. The standard grant of rights is for the publisher to print/publish/sell/distribute your book in the English language. Your agent would probably want to retain foreign rights, but that depends on a cost/benefit analysis. Meaning, is it worthwhile to attempt to sell your book to foreign markets?
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Writing and Illustrating
| Book Title TipsPosted: 03 Mar 2010 09:08 PM PST |
 Yesterday, I was talking with Laurie Wallmark and she said her publisher wanted her to change the title of her book that is being published next year. I gave her some suggestions, most of which she hadthought of already. So as luck would have it, today I ran across a post by Literary Agent, Rachelle Gardner from Word Serve Literary on her Rants and Ramblings blog discussing this exact subject.
One of the questions I always ask an author is, “Was that the title you started with?” I can’t remember anyone telling me, “Yes,” yet. Titles – they are so important and yet, so hard to get right. Anyway, I thought I would pass on Rachelle’s tips and give you the link to her blog, since she has lots of other good stuff you could use. Here’s Rachelle’s 9 excellent tips.
1. Know the genre of your book, and identify what kind of feeling or tone you want to convey with the title. Write it down. This is important, as I’ve seen humorous books with dead-serious titles, contemporary books whose titles say “historical romance,” novels that sound like self-help books… you get the picture. Be clear on what your title needs to instantly communicate. Now you are ready to start brainstorming.
2. Find twenty books on Amazon that are in the same genre as yours and whose titles you like. Write down their titles. Try to get a feel for what works with your genre. What do you like about the titles? What don’t you like? Then put the list away for awhile.
To find out the other tips offered by Rachelle Garner, go to http://kathytemean.wordpress.com/
   
2 Comments on Writing and Illustrating. Kathy Temean’s blog., last added: 3/4/2010
I am always reading and love to share what I read. Check out Mandy Hubbard’s wordpress site @ http://letthewordsflow.wordpress.com/
Here is a sample of what you’ll find there.
New post] Query Week Wrap-up
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Query Week Wrap-up
Hi All! I hope this Query Week has been helpful! I know that querying can be thrilling, scary, tiring, gratifying, exciting…. and sometimes all of that all at once. As a writer, I’ve been there, and I know how you feel.
As an agent, it’s also many of those emotions, and more. To wrap things up, I thought I’d give you insight as to how I approach the inbox every day– what I think as I read queries, what will make you stand out, etc.
First off, when it comes to queries, I always start with the oldest ones first. I approach them with nothing but hope— will this be the query that makes me sit up and take notice? Many writers see agents as mean ‘ol gate keepers that only want writers who have huge credentials or the most amazing high concept book known to man.
Not true! Some of the queries that just plain blow me away seem rather anassuming at first–but the writing is just plain good. That’s all I’m looking for. Really good writing! Everyone has a fair shake at it.
     
Be sure to sign up for this newsletter and check out the great articles.
The Prosperous Writer, Issue Six — February 2010
Passion is like fuel + fire–it flares up and burns quickly. And what we writers more often need is a nice, slow, steady burn, more like a wood-burning stove that is going to get you through the winter.
     
ABC-ABA Potential Merger Update
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So many writers.
But above them all, my uncle Oliver who inspired the novel, Blackwatertown I have just finished writing.
There’s an excerpt at http://wp.me/pDjed-7I
Writers? Andrea Camilleri who shows who to mix in humour with suspense.