“Planning to write is not writing. Outlining, researching, talking to people about what you’re doing, none of that is writing. Writing is writing.” Right you are E.L. Doctorow. I can’t argue with you.

Up until recently, I’ve been a writing pantser–someone who flies by the seat of her pants like a magic carpet. Weeeeeee!!! It was a fun, exhilarating, spontaneous, surprising, unfettered, chaotic, halting, sputtering, who-knows-how-the-heck-I-got-here way to write.

When I’ve considered a popular alternative, outlining, my skin literally crawled. No kidding. It wriggled clean off muh bones. (See why I can’t outline? I can’t even write without doubling back and making silly asides.) SO, anyway, outlining was not attractive to me. What a time and fun-sucker. Why not just jump in? I wanted to be surprised! At the same time, I liked the idea of pre-planning as a means of making steadier writing progress.

But as a card-carrying AntiOutlineist, I yearned for a way to enjoy the benefits of outlining without actual doing it. There were plenty of alternatives involving Post-it Notes, index cards or oversized sheets of paper, but I wanted something even simpler. It if could involve my adoration for list-making, that would be a bonus. That’s why I chose bullets. Round. Simple. Readily Accessible. Inexhaustible in supply.

Now, my little warm cinnamon crumb cake, you know I mean these kinds of bullets. . .

• Yes,
• I
• knew
• you
• would.

When I recently approached an extensive novel revision, I chose bullets to help me compile the sequence of events and actions of my characters. I didn’t write long descriptions of each scene. I wrote just enough to ensure I’d have what I needed when I returned to my list later. As I compiled this list, naturally, I’d identify roadblocks. But then, I could easily scan back to see, and then change, the sequence of events to release that blockage. I was able to think through each character’s actions or responses and their natural consequences. I could think proactively about how to crank up the story’s tension or humor or tenderness.

And now, armed with my bullets (hardy har har), I’ve had an easier time approaching the revision process. Plus, I’ve felt energized and encouraged because the bullets serve as an assurance that it’s going to be okay. Keep going. You know you can work this out. You’ve already untangled your plot and mapped out a path for your characters. And I know they won’t fail to surprise me, so there’s still fun to be had.

E.L. Doctorow is right–we can’t just yack about writing, we need to actually do it. But, before you do, see how you like writing with a batch of bullets by your side. G’head. Give it a shot. (Ouch.)

I’m one of those writers who tends to be really good at making outlines and sticking to them. I’m very good at doing that, but I don’t like it. It sort of takes a lot of the fun out.  ~ Neil Gaiman

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Back in the late 1900s, there was a clever public service announcement encouraging seatbelt use. It featured crash test dummies and the tagline “You can learn a lot from a dummy.”

Fast forward to, well, right this very minute. When I hear the word dummy, I think of a mini mock-up of a picture book, not a badass mannequin.

Some of my friends write picture books exclusively. (If you must know, I admire/loathe them all. Blast their bundles of talent! Promise not to repeat that, okay?) While, I, on the other cramped hand, write picture books illusively. Meaning, I get a won’t-go-away idea. I do my best to puzzle the idea into a manuscript and then tinker with it until it begs for mercy. Then rinse and repeat. It is never easy or pretty. But, Seuss help me,  it brings me a perverse, inexplicable delight when I finally pin that butterfly of an idea to the board. Making a dummy helps me get to that point.

Whether you and picture books are going steady or you only hang out when the mood strikes,  dummy-making may be wise for you too.

Smart dummy pointers . . .

• Do not waste a nanosecond worrying about your inability to draw. Dummies are designed to be tools, not  objets d’art.
• Illustrators need a dummy. Writers need a dummy. All God’s children need a dummy (more or less).
• If your picture book word count needs a serious count down, making a dummy can really help. You can easily see which words are keepers and which are just leftovers. Aim for 500 or less–a whole heap less.
• Dummies will also tell you if your cute or clever idea is robust and active enough to sustain a 32-page page-turner.
• For a tip-top primer on how to make a dummy, visit this blog post from picture book author extraordinaire Tara Lazar.
• At a recent SCBWI event, I picked up this cool trick from masterful picture book author Kelly DiPucchio. Once Kelly has a decent draft, she prints it and cuts out each line, then uses an existing 32-page picture book (any one will do) to check her pacing. She paperclips or lightly tapes her lines into the book to see how well her story fits the format. If not, she can tailor and tighten or expand.

You simply must be convinced of a dummy’s brilliance by now.

And so, my little cummerbund of cuteness, my bon vivant of brilliance, do you dare devise a dummy? Indeed, I hope you do.

Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things. ~ Steve Jobs

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I knew I wasn’t crazy. (Hey, I saw that eye roll!) In her lecture about the interior life of our characters, young adult and middle grade author Coe Booth said, “Characters should exist before we know them. They should keep ‘talking’ when we aren’t writing about them.” Coe had no idea how good her words made me feel. I wasn’t the only one who thought that about my characters!

When I began my third middle grade novel, I interviewed the people I hoped would populate the story. My goal was to become better acquainted with my already-identified main character and his family as early in the novel-writing process as possible.

Why? Well, for one thing, we were going to spend a heck of a lot of time together. Why start out as strangers? Also (and this is a big ALSO), knowing my characters allows me to anticipate how they’ll think and feel in the situations I’ll plot for them.

Based on the interview outcomes for each player–primary and secondary–I compiled character sketches. Each character has a job to do and I had to know they were up for it. Slackers need not apply!

Oh sure, my characters have surprised me already–and that’s the fun part–but hosting that meet and greet for the entire cast at the outset made a big difference before we buckled up and motored into the unknown together.

Here’s my secret for a great character interview–turn off your inner censor. Unplug the darn thing and put your mouth on mute. Not unlike a brainstorming session where you agree there are no “good” ideas or “bad” ideas, the same must hold true as you query characters. LISTEN. Don’t interrupt or wonder if what they’re telling you is factual or even fits with the story you want to tell. Let your subconscious and your intuitive side have free rein. If you can do this, you will be amazed by what will surface. I recorded information about my characters and only afterward learned how the pieces fit together in powerful and significant ways I never could have planned or predicted.

 

 

Here are some sample character interview questions:
Who is your hero?
What’s your favorite day of the week? How come?
What’s under your bed?
What’s your earliest memory?
Do you have any allergies?
What candy is your all-time favorite?
If you could change your name, what would it be?
What’s your biggest fear?
What are you good at in school?
What do you wish you were good at?
When you look in a mirror, what part of your face do you like best?
What do you like to do when you get home from school?
Do you have a pet?
Do you have brothers or sisters?
How do you parents get along?
Who lives at your house?
What’s the best vacation or trip you’ve ever taken?
What seems unfair to you?
If you could live in another time in history, when would it be?
What ticks you off?
What rule would you change if you could?
What would happen if your best friend moved away?
What’s your least favorite chore at home?
Do you have a bad habit?
Do you like being hugged?
What would you do with $100?

Consider these questions for starters. I know you can think up even better ones (and please, feel free to share!)

Why not interview your characters too? Even if you’re mid-novel, it’s not too late to conduct an impromptu Q and A session. You may discover something that will add depth or quirkiness to your characters and “maybe” even help to explain why they do what they do (or aren’t cooperating).

But remember the secret–shift your censor into neutral. Let your characters delight, surprise and perplex you, and then they will do the same for your readers.

Every time I write a new book, I want to push myself to try something different. ~ Lauren Myracle

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A note from Candy: Slushpile readers no doubt are marvelling at the sudden rise of activity here on our previously somnambulant blog. Yes, dear reader, we're trying to liven up this unreliable blog (we only blogged 11 times last year). How to do this? Why, find someone more reliable than us to blog of course! Ladies and gents, please welcome the latest member of Notes from the Slushpile, Nick

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This time of year is an absolute boon for children’s writers. If you have children or grandkids, you’ll soon be attending award ceremonies, field days, banquets, carnivals, graduations, end-of-year parties or picnics. Well, when you do, be sure to take notes. These occasions are an All-You-Can-Record Detail Smorgasbord!

Oh, I know you think you’ll remember. You are wrong. Even if you take photos, many details will be spirited away. I am the mother of a high school senior. Benefit from my experience.

Write.

It.

Down.

Jot down the names of the various awards and how students react to them, the food and amusements offered at the carnival, how the banquet was decorated and what was served, choice sound bites you overhear, and what teachers say to regain crowd control. Take note of the popular (and the not-so-popular) kids are wearing and how they talk, the words to songs that are sung, the music being played at a ceremony, the names of the games being played (and so on and so forth and what have you).

These notes will become precious to you when you sit down to write. You’ll have a stockpile of details to bring your work to life and ground it in a reality that is so familiar to your readers. (Oh,  and yes, you’ll have recorded dear details from your child’s school year, so there’s that too.)

The truth of the story lies in the details. ~ Paul Auster

Congratulations to the winners of the Frog on a Dime Spring Cleaning Giveaway . . .

Lindsay Fouts–winner of Writer’s First Aid: Getting Organized, Getting Inspired and Sticking to It by Kristi Holl

Danielle Hammelef–winner of Writing with Pictures: How to Write and Illustrate Children’s Books by Uri Shulevitz

Please contact me with your address and I’ll be delighted to send you your book!

 

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It’s time. As much as it pains me, I must purge my bookshelves a bit. Because I’m your fan, I want to share my purgings with you. Huh. That didn’t come out right, did it.

Moving on–we have a resource for non-fiction writers, one for picture book attempters,  a practical book for any writer and (yes, there’s more) a set of brilliant middle grade novels by masters of the genre. And you thought this was going to be an ordinary day. Silly you!

Lean in and I’ll tell you how you can be a winner of the Spring Cleaning Giveaway: simply comment on this post and let me know which book (or books), you’d like to win. Then, I’ll draw names on Friday, April 17 at Noon. Easy sneezy.

Here’s what’s on the menu (and good luck deciding!) . . .

The Magazine Article: How to Think It, Plan It Write It by Peter Jacobi

This book was published in the late 1900s (makes it sounds really outdated, doesn’t it). What it lacks in advice about online research, it more than makes up for in how to add substance, depth and honesty to your work as a non-fiction writer. Plus, it’s Peter Jacobi. He’s amazing. If you ever get the chance to hear him speak, do. He’s a true orator. And can that guy write. Oh, my. Did I mention this book is signed? I almost hate to part with it.

Writing with Pictures: How to Write and Illustrate Children’s Books by Uri Shulevitz

This is a classic. If you write (or aim to write) picture books, you simply must have this book. It’s a treasure. And yes, I am willing to share it with you. Is that love or what?

Writer’s First Aid: Getting Organized, Getting Inspired and Sticking to It by Kristi Holl

I met Kristi ages ago at a Highlights Foundation workshop. This lady knows her stuff. While this little volume looks demure, it can be a real kick in the pants.

These fine middle grade novels, I’m offering as set. You can study them for craft, enjoy each as a fun, quick read and then share them with a child you love.

• A Series of Unfortunate Events, No. 2: The Reptile Room by Lemony Snicket
• Lost in Cyberspace by Richard Peck
• Hank Zipzer, The World’s Underachiever: Niagara Falls, or Does It? by Henry Winkler and Lin Oliver
• This Gum for Hire by Bruce Hale

Have you made up your mind? Don’t wait too long. Leave a comment by Noon on Friday and hopefully you’ll be a winner. Regardless, you are a fine person and there are plenty of kids who would be happy to sit by you at lunch. Remember, don’t slouch.

With freedom, books, flowers and the moon, who could not be happy? ~ Oscar Wilde

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You roll your quarters, register, and highlight the dates on the calendar. You pre-pick your plane seat and pack your bags. You’re going to a workshop! You look forward to it for months, fret about how many pairs of shoes to take, and finally, it’s time to blast off. I got to do just that earlier this month when I attended the amazing 12th Annual Novel Writing Retreat at Vermont College of Fine Arts. (If you’d like a great recap of the experience itself, I highly recommend visiting Debbi Michiko Florence’s site.)

I don’t know about you, but time passes at a sloth’s pace leading up to an event, but then the workshop itself whisks by at road runner speed. If you’re not careful (and by you’re, of course, I mean, I’m), it’s easy as gliding up an escalator to let the whole experience slip away once you’re back home.

Watch out for these post-workshop mistakes . . . 

1. Rushing to query or submit your manuscript. Some writers think, if I don’t send that editor or agent my manuscript as soon as I get home, they’ll forget all about me. Not true, especially when you wisely offer a little reminder in the first sentence of your cover letter about how you met. Even if a presenter gives you a teensy window–like six weeks–to submit, take your time. Better to email a glistening, well-groomed manuscript, than to rush yourself and offer a schloppy copy. Your work is a reflection of you. Go for shiny, not speedy.

2. Neglecting your notes–if your notes are handwritten (mine always are), type them up. Seriously. It won’t take long, and while you’re typing, you’ll be reviewing the gems the presenters shared with you. It’ll be easy to highlight the parts that resonate with you too. [Next, pop some brackets around a hint or suggestion that perfectly applies to your WIP and cut/paste it into your ms. to serve as a reminder when you return to that section.] Don’t want to type? Use an old school highlighter or sticky notes to spotlight the bits you most want to recall. Put those pages (or copies of them) in the folder of goodies (research, hard copies, feedback) you’re compiling for this new novel. The idea is to incorporate every epiphany, aha and eureka into what you’re working on now, plus you’ll make them easier to find for future follies, that is to say, novels.

3. Disconnecting with the people who “clicked” with you. Friend them on Facebook, send a follow-up email or connect with them on LinkedIn. Send a text, a tweet or smoke signal, whatever works for you. These are your new peeps who share your passion. Passing on this chance to expand your circle is criminal, okay, well, at the very least, a pity.

4. Cooling off—you arrived home pooped, but positively giddy about a new idea for your WIP, but then your fervor fizzled. Family, your tyrannical to do list and Facebook eclipsed your euphoria. Don’t let them! If you have a critique group (or a beloved writing buddy), share what you learned with them. Talking about the lectures will help to solidify concepts in your mind. Your group/buddy may also be able to help decide out how to best use what you learned (and of course, you can return the favor). Ask someone to hold you accountable and offer to do likewise.

How about you? How do you keep the momentum moving after a workshop or retreat?

It is our choices, that show what we truly are, far more than our abilities. ~ J.K. Rowling

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Let’s say a real estate agent sends you one of those slick postcards, inviting you to an open house on Sunday. You’re not really in the market for a house, but the agent’s photo is so endearing, and well, there might be cookies, so you and your beloved make plans to go. You show up between the hours of 2 and 4, and there stands the darling real estate agent—on an empty plot of land.

You and your sweetie make simultaneous brow furrows and head scratches. Wrong address? Then one of you suggests, perhaps she’s going to walk us over to that quaint house next door. Maybe she was so excited to usher us into our new dream home, she waited outside. You both exit the car and approach the agent. She nods and laughs at your quizzical faces. “Yes, yes, this is the right address,” she assures you. “But there’s no house here. Not yet.” You two do a simultaneous brow lift. “Heavens,” she says, “It’s still in the design phase.”

What? Doesn’t that sound loony–to seek buyers for a house that only exists in the mind of the architect? Why, yes, indeed it does. But you know what? (Uh oh, here she goes . . . )

It snaps my heart in two when I see people who are new to children’s writing splintering their time in unproductive ways. (Probably because I hate seeing them repeat some of my own dundering blunders.) And while I hate calling a story a product, if you plan to sell it, it is. It would stand to reason then that one must have a product to sell before one goes to market. Yes?

So, please, please . . . you’ve got me down on my old knees here . . . if you are new to writing for children, pretty please with Nutella on top, place your focus on crafting not publishing.

Here’s where your focus needs to be (according to yours ever-truly):

• Craft–first-drafting, revising, sharing with your critique group, revisiting and polishing
• Establishing good writing habits and routines
• Asking questions
• Attending conferences and workshops centered on writing (not publishing)
• Networking–yes, online, but also at retreats and what-have-yous
• Joining or establishing a critique group
• Reading books, blogs and articles on craft
• Reading books in your genre of choice
• Reading books outside your GOC
• Cultivating interests and experiences away of writing–dance, gardening, making pickles–anything that widens your world a bit
• Maintaining a positive online presence

Please don’t divert your precious writing hours by: 

• Spending time and money learning how to give a stellar school visit
• Searching for an agent (they need a polished product to take to market first!)
• Submitting manuscripts (do not rush the process, let your manuscripts cool and mature)
• Hunting for an illustrator (that’s the art director’s job)
• Practicing your autograph (okay, well, it is fun, I’ll grant you that)
• Drafting your Newbery acceptance speech (but I do admire your radiant self-confidence)
• Investing metric tons of energy into building a fancy web site and online platform*

*Okay, you got me there. You may have noticed, since you are reading this after all, that I myself have a blog. Am I published? Well, no. Not yet.  But I do see value in having a site for several reasons–it gives me a way to share ideas, offer encouragement and connect with other writers, it makes me feel more like a professional writer, and yes, it is a means to building a wee online presence for myself (even if it is the size of a frog on a dime). So, go ahead and create a blog or web site, but only if you really want. Don’t feel pressured to do it and certainly do not let it gobble up your writing time.

Focus on craft when you’re starting out, and then, once you’re more established, you can focus on craft (some more).

Time flies like an arrow; fruit flies like a banana. ~ Anthony G. Oettinger

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Studying the menu at a new restaurant can be tantalizing. You scan the appetizers:  olive tapenade, baked brie and calamari, then peruse the main course options: lamb chops, tilapia, steak medallions, and finally the scrumptious desserts: peach pie, crème brulee or chocolate lava cake. So many choices. Sometimes it helps to ask your server for a recommendations.

Well, my charming writerly friends, I have a different menu of options to tempt you. I can personally attest to the high quality and value of each. You simply cannot make a bad choice (unlike that unfortunate experience with the ahi tuna sushi special. Sorry to bring that up again. Ew.). Any one of these will nourish your writing skills and expand your network (without expanding your waistband!) Because you can click the links to get all of the particulars, I’ll focus on my personal experience with each.

Highlights Foundation

Whether you write picture books, novels or non-fiction, you will find an outstanding collection of workshops with top-notch faculty hosted in the gorgeous natural surroundings of Pennsylvania. The Highlights team will treat you like gold and feed you like royalty. Presenters take a personal interest in your work and the small workshop sizes allow you to get to know the other participants and learn from them as well. Workshops are pricey, especially if you need to fly, but Highlights does offer scholarships, free shuttle service and makes the experience all-inclusive, so there are no extras to worry about beyond getting there. I loved it!

Vermont College of Fine Arts

You probably already know about VCFA’s two-year low residency MFA program. But do you know there are also weekend workshops? What made this workshop a standout for me was the exuberantly positive atmosphere. The faculty–simply fabulous too. Truly. I came away feeling pretty darn giddy. I’m going again later this month and I can’t wait!

Falling Leaves/Green Leaves Master Class Retreats 

Hosted by the Eastern New York Chapter of the Society of Children’s Book Authors and Illustrators, these fall and spring weekends take place on magical Silver Bay in Lake George, New York. This retreat has an amazing participant:presenter ratio–35:5. It’s no surprise, spots fill quickly. This workshop will stretch you and give you a boost.

UCLA Extension Writers’ Program

This online program pairs you with an instructor and a small group of students. I took a course called “Creating Memorable Characters,” which included textbooks and novels to read, as well as the expected homework. Interacting with the instructor and with the other students who were from all over the planet made this course especially fun.

I’ll give you a moment to look over the menu. If you have any questions, please let me know. I’m happy to serve you. Bon appetit!

Hors d’oeuvres have always had a pathetic interest for me. They remind me of one’s childhood that one goes through wondering what the next course will be like–and during the rest of the menu one wishes one had eaten more of the hors d’oeuvres. ~ H.H. Munro

 

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While we’re still knee-deep in winter, it helps to have something GREAT to look forward to. Here’s what I high-as-a-snowbank highly recommend . . .

Children’s book author Darcy Pattison and children’s book author/illustrator Leslie Helakoski will co-lead a unique workshop, PB&J: Picture Books and All That Jazz at Highlight’s Foundation in Honesdale, PA on April 23-26, 2015. Join them and learn how to make your story rise above the fierce competition.

For a taste of what’s to come at the PB&J workshop, here’s a wisdom-filled article written by Darcy and Leslie . . . 

When people think about writing a children’s picture book, clichéd topics pop up. These classic themes are based on universal childhood experiences. It’s not that these topics are taboo. Instead, they are so common that competition is fierce. As they say, children’s publishing is a bunny-eat-bunny world.

Here are the top 9 topics to avoid. Also listed is a children’s book, published within the last 5 years, that is a fresh take on the topic. If you are considering writing a picture book about one of these topics, it will be a harder sale unless you can find an original way to approach it.

1. First Day of School. Everyone wants to get kids ready for the first day of school, and it’s hard to find a fresh approach.

Updated title that works:

Dad’s First Day (July, 2015), written and illustrated by Mike Wohnoutka.

2. Tooth fairy. People have 32 teeth, and losing baby teeth in early elementary school is a universal experience. The tooth fairy often has a place in a family story, which makes it a perennial topic for a children’s book.

Updated title that works:

The Dinosaur Tooth Fairy (2013) by Martha Brockenbrough, illustrated by Israel Sanchez.

3. Christmas/Halloween. Major holidays are often the focus on children’s books.

Updated Titles that Work:

Christmas Parade (2012) written and illustrated by Sandra Boynton.

Smudge and the Book of Mistakes: A Christmas Story (2013), by Gloria Whelan, illustrated by Stephen Costanza.

 4. Wanting a pet. From gerbils to dogs, cats to chinchillas—humans love their pets. It’s a natural topic for a children’s book.

Updated titles that work:

I Want a Dog: My Opinion Essay (2015) by Darcy Pattison, illustrated by Ewa O’Neill.

I Want a Cat: My Opinion Essay (2015) by Darcy Pattison, illustrated by Ewa O’Neill.

5. Dealing with a disability. With today’s cultural emphasis on diversity (#WeNeedDiversity), libraries are looking for stories with disabled characters.

Updated title that works:

My Three Best Friends and Me, Zulay (2015) by Cari Best, illustrated by Vanessa Brantley-Newton.

6. Visiting Grandma and Grandpa. Who buys books for children? Grandparents! And of course, grandparents want to encourage a close relationship with their grandchildren. Do this topic with humor and honest emotion and you’ll have a winner.

Updated titles that work:

How to Babysit a Grandpa (2012) by Jean Reagan, illustrated by Lee Wildish.

How to Babysit a Grandma (2014) by Jean Reagan, illustrated by Lee Wildish.

 7. New baby in the family. Young children often have to move over and make room for a new sibling. Books helps them work through the complicated emotions when a new baby arrives

Updated title that works:

You Were the First (2013) by Patricia MacLachlan, illustrated by Stephanie Graegin.

8. Barnyard stories/rural nostalgia. The rural roots of America are ever-present in children’s books. One of the first things kids learn is the sounds made by farm animals. From there, chickens and pigs rule!

Updated title that works:

Big Pigs (2014), written and illustrated by Leslie Helakoski.

9. Bedtime stories. Kids who are read to become better readers. What better time to read than bedtime? And if the story ends on a quiet note that encourages the kids to go to sleep faster, parents will love you.

Updated title that works:

Goodnight, Goodnight Construction Site (2012) by Sherry Duskey Rinker, illustrated by Tom Lictenheld.

Not convinced that you should avoid these topics? Then put on your A-Game! Because the competition for children’s picture books about these topics is fierce. Yet, if you write a fantastic story about one of these topics, it might just become a classic.

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One of the problems with regular blogging is that you sometimes feel like every single post should be breathtaking, new, insightful, and most of all exciting. But, truly, none of us has anything new or exciting to say. Maybe different ways to say the same thing. Or new-to-us insights into the same old material. Disclaimer: this is one of those mundane posts that may not have anything new to say, but perhaps it at least offers a new twist on the same old stuff.

Random Thought #1: Strategies for first draft writing come in all different sizes. Some like outlines, some prefer complete plot diagrams, some are pantsers (writing by the seat of your pants). I'm usually a pantser. I frequently know where I'm starting and where I'd like to end up, and maybe a few scenes in the middle, but beyond that, my first drafts are where I discover how I'm going to get from start to finish. I have a lot of fun with rough drafts, even though it's agonizing to create something out of nothing. Here's one thing I've discovered that helps me keep the momentum going--I stop writing before the scene or chapter is over. I send the character into the midst of the problem of the moment, build the tension, and then leave the character there while I go make dinner or whatever. A lot of my writing takes place in the synapses of my brain while I'm doing other stuff, so I let the character be in trouble for a day or two or three and when I come back to the writing, often the character has figured out a great maneuver or solution. I can write that scene, which moves me into the next one, and then I leave the character hanging off the edge of the cliff for a while again.

Random Thought #2: Things not to say to writers. Most of you reading this are writers, so if you'd like to cut and paste this section into an email to all your family and friends, you have my blessing.

• "That's cute." No, cute isn't what I was going for. I don't do cute. So "cute" to me just means you're not getting what I'm writing. Or else you're illiterate and have no idea what you read. Or maybe you didn't really read it at all. Typically for me, the people who describe what I've written as cute are, in this order: 1) my mother, and 2) any of my mother's friends. So I don't show them my writing anymore. It is now my policy that anyone who calls my writing "cute" will never again have the privilege of reading it. 
• "How's your great American novel coming?" I hate this for several reasons. First, it implies that I am ignorant of the publishing industry and I think my novel is the ONE and ONLY important piece of literature of my age. Second, it assumes that I have only one novel in me, ignoring the many others I have already written. Also, it suggests that I'm never really going to finish this thing (despite the fact that I have already completed others), because I'm not really working at it, nor do I really have any serious intent of writing professionally. 
• "I like it." Okay, I know, we all like to hear this--once the thing is published and public. But until then, if I'm sharing my writing with you, it's because I want your feedback, your critique. When you have nothing useful to say, I know you aren't a helpful critiquer, which means, again, that I probably won't be sharing with you anymore. I need critique, by golly, not admiration. I'll call you when the book is for sale, since I know you'll "like it."

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No, my little sugar plums, I haven’t been sampling the “enriched” eggnog. There really are at least four simple ways to keep putting one snowshoe in front of the other (writing-wise) through the holiday season.

Now, I know some of you actually first-drafted an entire novel in November (HUZZAH!), but instead of taking a well-deserved break, why not keep that keyboard humming? And if you’re like me, and didn’t exactly knock out an entire book last month, maybe you’ll want to try these ideas to keep your writing muscles from going fudgy and flabby.

To keep writing a part of the holiday season without turning into a stark raving nutty fruitcake:

1. Have a way to capture thoughts/quotes/ideas with you at all times. Time spent with friends and relatives over the holidays can be golden opportunities for writers. Jot down details, mannerisms, expressions, dynamics, kid’s questions–in an inconspicuous way, of course! These notes will make fabulous fodder to kick-start your January writing.
2. Use the time doing semi-mindless tasks, such as gift wrapping, cookie baking or waiting for wee ones to finish pageant practice, to think about your writing. Ponder how to make a character’s personality fresher or concoct a new barrier to put in his path. You could untangle a knotty plot problem while you untangle the Christmas tree lights. Or use your noodle to dream up the perfect title or a character’s name.
3. Give yourself the gift of 30 minutes three times a week to write. If you have a day job, you could use your lunch hour. It’s not really so much about word count as it is maintaining forward momentum. It’ll make it a lot easier to charge ahead in January. And while we’re on the subject, try idea number four.
4. Compile a list of writing goals for the New Year. Go for realistic and specific. Say adios to the grandiose.

Sound like too much? Just try one or two of the ideas. Or come up with your own (and please share!)

Oh, and remember to write yourself a thank you note. You’re so amazing!

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Who isn’t mesmerized by the moon? Little Imani’s lunar fascinations go beyond enchantment to obsession as she wills herself to touch the moon. In doing so, she would prove her worth to all of the naysayers in her Maasai village who literally look down on her. Inspired by her mother’s tales of Maasai mythology, not only does Imani accomplish the feat, she proves to herself that “a challenge is only impossible until someone accomplishes it.” Imani is quite a someone.

Frog on a Dime is pleased to host the illustrator of IMANI’S MOON–the adorable Hazel Mitchell.

Hazel Mitchell is originally from England and now lives and works in Maine. When she wasn’t riding horses as a youngster she was drawing them. After attending art college in the UK, she spent several years in the Royal Navy and then worked as a graphic designer. Now she’s doing what she always dreamed of – creating books for children. Don’t you love it when dreams come true?

Welcome, welcome, Hazel. I’m excited to talk about your new book, written by JaNay Brown-Wood. What first attracted you to IMANI’S MOON? I loved the story and the fantastical elements. I also liked the idea of the setting in Africa and drawing a Maasai child! It was quite a challenge.

And now that it’s finished, what do you love most about Imani’s story? That it’s a book! (That’s always surprising.) I do love the way the colours and textures came out. Great job by Charlesbridge Publishing!

There’s been a lot of discussion lately about the need for greater diversity in children’s books. How do you think IMANI’S MOON helps to fill that gap? I think IMANI’S MOON is a great book to add to the diversity bookshelf. Imani is in her own environment. This is not a case of forcing a child of color into a story for the sake of diversity. She’s just Imani–in her culture with her trials and tribulations–just like any other child.

People outside children’s publishing or those new to the industry are often surprised (even alarmed) to learn that authors and illustrators do not often collaborate on a book. Can you talk about that? When I was a newbie I didn’t realize authors and illustrators worked separately either. At first, I thought the writer might feel cheated. And some do, I think. But the more you work in the industry, the more wisdom you acquire. We have editors and art directors for a reason. Having a little distance between the author and the illustrator is good. And the input from an art director and editor can be crucial. If there’s an issue with artwork, I’ve found that they’ll refer to the author when needed. It’s a team situation. Without the freedom to create, the illustrator can feel frustrated and then the art might not be as good as it could be. You can feel boxed in. The writer has his or her vision, and the illustrator needs to be able to have their vision as well.  A picture book is a collaboration; it cannot work without each part of the whole. That’s when the magic happens!

And we can see that magic in IMANI’S MOON, Hazel. It’s so lovely. Now, since Frog on a Dime exists to offer encouragement, could you tell us about what or who encourages you? Right. Oh, so many. First, all the books that I have read along the way and learned from. You can’t read enough. My peers – those I have met so far on the journey. It can be a lonesome profession and like minds are crucial to help you along. And those I have met who are further along the path and have been kind enough to mentor me. Going to conferences and workshops has been a great source of knowledge and inspiration.

Here’s your chance to be encouraging, Hazel. What’s one thing a writer or illustrator could do today to improve their craft? Create SOMETHING!!!

Love that! And what do you do when you’re “stuck” as you’re trying to create something? Make a cup of tea. Do something mindless (chores!). Work on something else. Read a book. Have a bubble bath. Talk to another creative.

I love those ideas, Hazel. I’m a big believer in the inspirational power of tea myself. Before you go, I’m curious to know what’s on the horizon for you. I have a busy year upcoming with three books I’ve illustrated – ANIMALLY from Kane Miller, WHERE DO FAIRIES GO IN WINTER? from Down East, KENYA’S ART from Charlesbridge and in 2016 by debut as author-illustrator TOBY from Candlewick Press.

How exciting! Thank you so much for visiting Frog on a Dime, Hazel. It’s been a delight getting to know you.

You can learn more about Hazel when you visit HazelMitchell.com. You’re welcome to purchase IMANI’S MOON directly from Charlesbridge.

__________________________________________

Enter a drawing to win your very own copy of IMANI’S MOON.

All you have to do is leave a comment about why you love picture books! It’s that simple.

The drawing will take place at Noon on Friday, November 7, so don’t dilly dally!

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And now, we’ll close with one of Hazel’s favorite quotes . . .

We are all lying in the gutter, but some of us are looking at the stars. ~  Oscar Wilde

 

 

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Recently a writing friend reminded me of something I wrote long ago: “Looking at it physiologically, perhaps writer’s block is more akin to constipation–things get all backed up in your semi colon.”

Yep, I know a few delusional mugwumps believe writer’s block is a myth, but let’s “pretend” it does exist. Why not apply constipation remedies to get your semi colon unstuck?

Strive for a balanced diet. Read and write in equal proportion.

Increase your fiber intake. Read outside your genre-of-choice to challenge yourself.

Drink plenty of water. By which I mean, drink plenty of water. Dehydrated writers produce dry writing.

Elevate physical activity. Maybe you’ve been practicing Anne Lamott’s dictum too much. It’s time to get arse out of chair and move. Walking is a time-honored way for writers to get the creative wheels whirling.

Get into a routine. For the love of prunes, if we can train your bowels, can’t we train our brains too? Establishing a writing pattern–whatever that looks like for you–helps your noggin’ to shift gears and be productive more quickly.

Heed the call. If your body says you need to, you know, “go,” then go. If your brain gifts you with a cool story idea or a solution to a knotty plot issue, jot it down, text it to yourself or tell a friend, don’t assume you’ll remember later.

Try applying these tips for two weeks, and you too could become a Smooth Operator. (Thanks, Sade.)

I wish that being famous helped prevent me from being constipated. ~ Marvin Gaye

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Blog Hop is a blog tour showcasing authors and their writing process. I was honored to be tagged by Kristin Lenz, writer of YA and New Adult novels, and all around super fly, groovy chick. (Thank you, Kristin for inviting me!) I tagged another YA writer extraordinaire, Ann Finkelstein, for the next leg of the Blog Hop. You can learn more about Ann at the close of this post.

So, here we go with the Q & A portion of our program.
I hope you are grading on a curve. (And remember, I was promised there would be NO math problems.)

What am I working on now?
I just finished my second contemporary middle grade novel, SHORT CHANGED, at the end of May. Thankfully, as I was wrapping up novel two, ideas for middle grade number three began to percolate. Did I mention Ray, the main character of this novel, is forcing me to learn to knit because he likes to knit? He takes his protagonist role very seriously. I don’t want to disappoint him.

How does my work differ from others in its genre?
It has my voice. What would be the point of imitating anyone else? We already have a Jerry Spinelli and Sharon Creech. I like to blend humor with tenderness (tempered with enough references to boogers or puke to make it believable and boy-friendly).

Why do I write what I do?
Writing middle grade is a sweet spot for me–readers are still young enough to appreciate my dorky sense of humor, but sophisticated enough to handle more complex plot lines, language and themes. But I don’t have to write any “content.” (blushing) I know. I know. I’m such a ninny.

How does my writing process work?
First off, you should know, I never ever intended to write a novel, much less two, going on three. I remember showing my grandpa one of my published magazine stories. He said, “That’s good, Vick. Now, where’s your novel?” I told him flat-out, “I’m not a novelist. There’s no novel in me.” (See? Such a ninny I am.) It wasn’t until a friend asked me to collaborate on a novel with him that I ever thought to attempt such a crazy thing. I mean, novel writing was for, sheesh, I don’t know–novelists. But I reasoned that before I co-wrote a novel, maybe I’d better see if I’m capable of creating a one on my own. And so it began.

My first middle grade novel, SHRINK, germinated from a short scene based on a childhood memory. The story took on a life of its own as I began to ask why–why did the main character say that? Why does he feel this way? Why did he make that decision? To whom is he telling his story? And why? Because I was neon green at novel hatching, I pretty much let the characters run the show, which meant I had a lot of clean up to do on the back side. (Kids are not known for their logic or consistency you know.) I still love the characters in that first novel and even miss them when I see a real-world kid who looks like one of them. I must have done something right.

My second novel was inspired by a stupid idea. I thought it would be clever and ironic to write a novel with the title SHORT STORY. But that, I was wisely advised, would get way too confusing. So, I changed the title to SHORT CHANGED, but kept the basic story. I tried writing this novel on my own, like the first one, while trying to avoid the rookie pitfalls. But eventually, I opted to enroll in a novel-writing course through the Institute of Children’s Literature. The individualized instruction and the built-in deadlines helped me progress. I’d recommend taking an ICL class. If you want to know more, just let me know via my contact page and I’ll get right back to you.

My third novel is unfolding very differently. I want to plot and plan and outline before fully immersing myself in this novel. I am gathering articles and ideas too. And, as I mentioned earlier, I’ve got to take those knitting lessons. I’m also going to “interview” each of my characters in order to create character sketches. I treat characters like they are already fully-formed people. It’s my job to get to know them and create a world for them to live in and circumstances to respond to. (And how “simple” is that?)

Based on what I’ve experienced so far, I love the entire novel-writing process–the first niggling from a new idea, meeting my characters, creating that first draft, revising (ad nauseam), receiving critiques, revising again . . . I love it all. Except when I don’t.

(I hope I got the answers right.)

The next stop on the Blog Hop tour will be hosted by my talented friend and Sock Sister Ann Finkelstein. Ann writes young adult novels in Michigan. She enjoys biking, hiking, cross-country skiing and photographing the great outdoors. Read more about her. You can read Ann’s brilliant answers about her writing process on Friday, June 20. Don’t miss it!

Writing in English is the most ingenious torture ever devised for sins committed in previous lives. ~ James Joyce

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Maybe you didn’t know it (and maybe it doesn’t show), but in addition to being a writer, I’m an editor. Part of my job as a Communication Specialist is to edit other people’s work. I think about a lot of things when I’m editing, but I guarantee you there’s one thing I never think about . . .

Let me backtrack a sec. Just so you know, there are a lot of things I do think about when I’m editing a piece of non-fiction. For my job, I pour over articles, letters, brochures, ads, scripts and the like. Here are the kinds of questions I ask myself during the editing process:

Who’s the audience for this piece?
What’s the bottom line—the message—to be conveyed?
Does this truly communicate the message or is it a lot of pretty words strung together?
Is there a simpler way to say it?
Could this be tighter? Is there fluff or useless repetition or verbosity . . . (oops, now I’m doing it!)
Is this the best format for this piece? Would subheads help, for example?
Is there a flow and connection throughout?
Is the tone and language appropriate to the message and the audience?
Is there proper use of grammar and punctuation?

Quite a list, isn’t it? So, what “don’t” I think about? I do not think about the author. Hold on. I should be more specific. Maybe it sounds heartless, but I don’t think about the author’s feelings. Sure, when I’m editing, I do try to keep the author’s intent and style in mind. I don’t want to edit to the point that the piece no longer sounds like the author. But as I’m editing, the last thing I care about is the author’s feelings. It’s not even part of the equation.

Here’s what I care about: answering my list of questions above to the best of my ability so that the end product is a clean, eloquent, effective piece of communication. That’s it. I never once ask myself if it would hurt the author’s feelings if I take out an entire paragraph or reorder the piece or change silly things like utilization to a perfectly fine, simpler word like use. And even though that might sound cold, it’s truly a marvelous thing. Think about it–would you rather have your byline attached to a solid piece of writing or a so-so piece? C’mon. Let me hear you say it. Mm-hmm. I thought so.

Why am I telling on myself? I want you to remember this the next time your work is edited or you’re swirling in a vortex of editor comments. Your editor isn’t heartless. Your editor wants to make your work shine. And sometimes that means hauling out the sandblaster and pick ax. It can be painful at the time. But, baby, it’s for your own good. So, try not to take it personally. It really isn’t about you. It’s about making your work better. And what’s not to like about that?

Just don’t touch “my” work!

Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, ‘How can I help this writer to say it better in his own style?’ and avoid ‘How can I show him how I would write it, if it were my piece?’ – James Thurber

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I was going over my registration last night for the New Jersey SCBWI Conference and noticed an interesting intensive workshop titled Do-it-Yourself MFA in Writing for Children being held on June 7th at the conference. This intensive will focus on how writers can create a customized learning experience without going to school.

Gabriela Pereira will introduce the DIY MFA concept and then guide writers through the three main subtopics of DIY MFA. Write With Focus: This segment will focus on creativity and motivation. In particular it will cover techniques to help jumpstart a story or boost a work-in progress that has hit a rut. Read With Purpose: In this section, the emphasis shifts to reading like a writer. She will teach techniques that writers can use to make the most of their reading. Techniques that are not just about reading, but how by reading, you can gain a deeper understanding of the writing process. Build Your Community: In the last segment of the Intensive, Gabriela will shift gears and talk about building writing community. This section will include some information about building writer-to-writer relationships and community, but the primary focus will be on how writers can connect with their readers.

So I went to www.diymfa.com to see what other information I could find out about Gabriela Pereira. I discovered there was a lot of good information, but I wanted more, so I contacted Gabriela, so I could get answers.  This is what I found out: 

Before Gabriela Pereira started DIY MFA, she was a founding editor of a literary magazine, which gave her a lot of great experience in reading others’ writing with an “editor’s eye.” One of the things she does with DIY MFA is work as a content editor with writers, helping them write, revise and shape their books. She doesn’t advertise this service because she’s very selective about the clients she takes on. Writers she works with must be serious and ready to work hard. Gabriela has had clients go on to sign with agents and get book deals as well.

After she graduated from the MFA program at The New School (concentration in Writing for Children), Gabriela was inspired to share her knowledge by starting DIY MFA. She has spent the last few years building her audience and now she is branching out by doing workshops with shindig.com. The workshops have been greeted with a great response and turnout.

DIY MFA is also developing electronic workbooks and other self-guided workshop-type products like the Starter Kit which people can sign up to receive on the DIY MFA website. I signed up to get mine last night and it is filled with lots of information.  It was painless and free to receive. 

www.diymfa.com even has a Writer Igniter, which shuffles characters, situations, props, and settings to help trigger ideas. Very Cool! Check it out – especially if you need a spark to ignite a new story or break the writer’s block that may be plaguing you.

Gabriela is the spark, the Instigator of DIY MFA. 

Here is a more detailed bio:  

Gabriela Pereira earned her “real” MFA from The New School, in New York. While undercover as a graduate student, she collected information and discovered new techniques, even inventing a few writing tools of her own. Now she wants to share everything she learned with all writers.

Gabriela is a freelance writing teacher and leads workshops throughout New York City. She has taught at 826NYC, Everybody Wins and the East Harlem Tutorial Program, as well as a local writing workshop she built from the ground up. With a concentration in Writing for Children, when she’s not working on DIY MFA Gabriela loves to write middle grade and teen fiction, with a little “fiction for grown-ups” thrown in for good measure. Her work has appeared in several literary magazines and in a lesson plan anthology by 826 National. She enjoys coming up with new dastardly plans and innovative resources to share at DIY MFA.

For the latest articles, classes and tools, visit DIYMFA.com. Gabriela lives in NYC with “lawyer-hubby,” the “little guy,” and a collection of feline critters. Her secret dream is to take over the world.

TWITTER: @DIYMFA

FACEBOOK: facebook.com/DIYMFA

Hope you will consider coming to the conference.  Here is the link: www.regonline.com/njscbwi2013conference

Talk tomorrow,

Kathy

Filed under: authors and illustrators, Conferences and Workshops, opportunity, Process Tagged: DIY MFA, Gabriella Pereira, Intensive Workshop, June New Jersey SCBWI Conference, Shindig.com, Writing techniques

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by Maureen Lynas WARNING! If you follow these steps you may never enjoy a book or film ever again. You may even experience marital and family discord. Now read on. Candy's post on the First Page Panel in Singapore reminded of an activity I attempted (and failed) years ago. I'd just bought my very first 'how to' book - James Scott Bell's fabulous and essential Plot and Structure. The

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Ann Whitford Paul, author of WRITING PICTURE BOOKS says, “Just because you are not a poet doesn’t mean you can’t use some poetic tools.”  Here are some to try:

ALLITERATION:  This is the repetition of the initial consonant sounds of words in a sucession, such as long, low lullaby.  Using too many together can turn a sentence into a tongue twister and a nightmare to read.  Remember when writing picture books, your words will be read out loud, so your words need to flow off the tongue.

ASSONANCE:  This is the repetition of vowel sounds in succession, as in:  Sweep street clean.  You can pick up the long e, but you can make the sounds more subtle and still have impact.  Would you sweep the street in front of our house?  Alice Schertle, author of Very Hairy Bear, uses assonance twice:  “KERPLUNK! He’ll even dunk his no hair nose.”  The short U sound is repeated, as is the long O sound. 

CONSONANCE:   This repeats the same middle and end sounds as in fat cat sat or beginning and ending consonants in a word sequence such as click, clack or sniffle, snuffle.  For prose spread out:  He heard the click and then the clack of the train coming down the track.

ONOMATOPOEIA:  Words that imitate sounds.  Click here for list.  Kids and adults love these word, because they are easy to  and fun to read.

Homework:  Pull out your manuscript.  Did you use any of the above techniques in your text?  Could you improve what you wrote, if you added some of them in your sentences?

Talk tomorrow,

Kathy

Filed under: children writing, demystify, need to know, picture books, poetry, Process, words Tagged: Adding Music to your prose, Ann Whitford Paul, picture books, Writing techniques <

4 Comments on Poetic Tools For Prose, last added: 6/24/2011

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Some lucky people are born with a GPS implanted in their brains. Others are DC, directionally challenged. Guess which group claims me as a charter member? I'm hopeless when it comes to directions, as are most members of my family. Whenever we go somewhere new, we resemble the Twits in a Monty Python sketch, each person darting off in a completely different direction. (Even more tragically this sometimes happens in places we're familiar with.)

When I wrote the first draft of my middle-grade novel, my dysfunctional affliction kicked in as I went about creating my setting. My story takes place in a fictional New England coastal town, loosely based on several I've visited. I blithely plunked down buildings, parks, and historical landmarks wherever I took a fancy, with no regard to how they stood in relation to one another. Now that I'm revising, I'm finding that this carefree approach isn't working. I'm as lost in my fictional world as I am in the real one--with no GPS to help me.

My solution has been to create a map to help me navigate my fictional landscape. A map forces me to decide where a house or statue or cemetery is actually located. I've also added roads and streets. Now when my character drives or bikes to town, I know where she's going and how long it will take her to get there. Another benefit is that I must name these places.

Since I first learned to read, I've always enjoyed fiction books with hand-drawn maps. Early favorites include Winnie the Pooh, The Wind in the Willows, and My Father's Dragon. Treasure Island, The Phantom Tollbooth, and The Hobbit also have amazing maps. But not all maps feature fantastical worlds. For instance, there's William Faulkner's map of Yoknatawpha County and Sherwood Anderson's Winesburg, Ohio. Mystery novels sometimes include maps or floor plans. I'm thinking specifically of Agatha Christie, Phoebe Atwood Taylor, Arthur Upfield, Ellis Peters, and Nevada Barr.

For an absolutely wonderful post on the subject, check out Maps of Fictional Worlds. You'll find oodles of fantastic links to all kinds of maps, from childhood classics to adult contemporary novels. You can get lost there for hours. So bring a GPS!

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Browsing the new book section of my local library the other day, I spotted a collection of essays and stories featuring writers in my area, the majority of whom had attended the same workshop. Curious about local talent, I checked it out. It was an interesting read, but not because of the quality of the work. None were horrible, just numbingly boring and surprisingly similar given that they were men and women of different ages and experiences.

I skimmed through the beginning of each one, and when nothing caught my interest, skipped to the next. There were more than a dozen stories in all, and I only read one through to the end. It wasn't perfect by any means. A personal essay relating the author's experiences with cooking to her three marriages, it rambled at times, wasn't structured particularly well, and its point was far from original. So why did I read it through? The writer had a distinct and original voice, one that drew me in and made me want to know more about her. It wasn't a sophisticated voice, but it was authentic. The writer was telling me about her world as she experienced it.

The other stories, while more polished, were not as compelling. Why not? My guess is that those writers were striving to be literary. Their first concern was to impress their readers, to razzel-dazzle them with fancy words and obscure allusions. The writer of the story I finished wasn't concerned with that. (Interestingly, she was one of the few writers in the collection without a MFA degree.) She just wanted to tell her story, and so she got on with it. She wrote simply, but honestly. When I came to the last page I felt as if I had gotten to know someone new.

So what is the moral? Is there one? What I learned from reading that collection was to listen to my inner voice and not be so self-conscious about making mistakes. Too often I try to be smart-alecky and a show-off. It's safer than saying what you really feel, especially if your thoughts might not meet with approval. I didn't learn to swim until I was in my twenties, and long after  I was able to paddle my awkward way across the length of the pool, I clung close to the sides. There comes a day, though, when you have to head out of the shallows and into deep waters. Sure, you'll falter, but ultimately, you'll become a much better swimmer. Unless, of course, you drown.

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I have read numerous times that you should let the reader see your protagonist’s characteristics within the first few pages. This enables the reader to quickly identify with him. This connection will determine whether the reader turns the next page. Unless you are writing fantasy or science fiction, your protagonist will have ordinary strengths (possibly extraordinary, but with the realm of reality); he will also have weaknesses. These qualities need to be conveyed early on.

Here are 12 characteristics that may pertain to a protagonist or main character (MC):

1. Intelligent: Is your MC smart? If so how smart: is he a genius, did he finish college, does he gets all As in school?

2. Handy or Crafty: Maybe your MC isn’t great at academics, but is he handy, musically inclined, or crafty?

2. Arrogant: Does your character think he’s better or smarter than others? Does he let others know it? If so, how?

3. Trustworthy: Is your MC the kind of individual that others feel they can trust?

4. Determined: Does your MC know what he wants and strives to obtain his goal?

5. Greedy: Is your MC the kind of person who wants everything he doesn’t have? Is he the type of person who wants much more than he actually needs? Does he make it obvious?

6. Dependable: Is your MC the kind of individual that others know they can count on?

7. Brave: Does your MC do what he has to even if he’s frightened? Is he known for his bravery?

8. Cowardly: Is your MC afraid of his own shadow? Does he try to avoid any kind of confrontation or adventure?

9. Caring: Does your MC demonstrate kind and caring qualities? Does his family and friends think of him as a caring individual?

10. Selfish: Does your MC think of only himself? Is he known for this unsavory quality?

11. Strong: Does your MC have great physical strength? Is he strong emotionally?

12. Weak: Is your MC weak either physically or emotionally or both?

These are just some of the characteristics you can give to your protagonist. There are many others though, such as: shrewd, cheap, a liar, a thief, a go getter, beautiful, awkward, loyal, kind, lazy, introvert, extrovert, and cruel. It’s up to you as the creator to give your protagonist a set of characteristics that will allow him to connect to the reader – whether the reader loves him or hates him there must be a connection. This connection is what will cause the reader to keep turning the pages.

Be cautious though, if you are giving your protagonist unsavory qualities at the beginning, be sure to include at least one redeeming quality otherwise your audience may not feel that connection.

And, remember, you can always have the protagonist change characteristics through the momentum of the story. He can start out as a coward and through various occurrences within the story he can evolve into a hero, or whatever you choose. That’s the amazing thing about being a writer – you create something from nothing. You give your character breathe and dimension.

Talk to you soon,
Karen

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We writers are always looking for techniques to improve our writing and revision of that writing, and tools we can use.

Darcy Patterson, writer and writing teacher, teaches a technique to revise your manuscript called The Shrunken Manuscript. I haven’t taken her course, but I read her blog regularly. If you’re a writer, check out her blog; it’s a valuable resource.

The Shrunken Manuscript sounds interesting–a visual way to see the tension in your manuscript, what’s working and what isn’t. I haven’t tried the technique yet–I only just stumbled upon it–but I’m intrigued.

Author Sarah Miller tried out The Shrunken Manuscript, and you can see the result below. It involves the manuscript printed in a tiny font (Sarah used 4 pt type), some scribbling, and lots of sparkles.

You can read how to use The Shrunken Manuscript on your own manuscript.

Thanks to Fuse #8 for the video.

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The holidays and the end of the year are bringing out the generous nature of agents!

The 2nd Sort-of-Annual Stupendously Ultimate First Paragraph Challenge

• Deadline: 7pm. EST, Thursday, December 11, 2008.
• Who: Literary agent Nathan Bransford, Curtis Brown, San Francisco office
• What: Post the first paragraph of your WIP and compete for the prize of a partial critique, query critique or a 15 minute phone call.
• How: Skip over to Bransford’s website and post your paragraph in the comments.
• Warning: The competition is stiff. With 10 hours left, there were 1176 comments/paragraphs.
• Attention: This is a learning opportunity. Read through at least some of these paragraphs and see which you like and which you don’t. What grabs your attention? Check back when Bransford posts the winners and vote on the finalist. Do you agree with his choices or not? Why or why not?

For more on opening lines:

• Opening Lines: The Story in Miniature
• Openings: 5 Ways They Go Wrong
• Prophetic Openings

Take a Holiday Break from Queries and Submit a Chapter Instead

• Dates: December 15 to January 15
• Who: Firebrand Literary
• What: Firebrand agents want to read your first chapter and will forego the usual query. This is a big task for those agents and a great opportunity for writers of all kinds. For those of you who have never got a request for a partial (probably because your query was weak), this is your golden chance. Let your writing speak for itself.
• How: Go to the Query Holiday posting on Firebrand’s website.

For more on opening chapters:

• Take the Scene Box Test
• Begin at the Beginning

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Creative writing tips, courtesy of the season:

• Peppermints! When you add sensory details to a story, the most common is visual details. The two most neglected are olfactory (smell) and gustatory (taste). Flavors of the season are peppermint, cinnamon and cloves.
• Gifts! Give your character something to hold in his/her hands. It’s one of the easiest and best ways to characterize someone, while providing you, the writer, with great verbs. Put an iron skillet in Grandma’s hands and watch her rustle up a meal for the 30-odd relatives coming by tomorrow.
• Trees! The setting of a story can add to the mood, if you choose the right details. A pathetic, sad tree is aluminum, thin, sparse, leaning. A cheerful tree is straight, full, soft fir needles, well-lit, glowing, radiant. Be precise in the details you use and you’ll evoke a mood to support (or contrast) with your character’s inner life.
• Worship! Just as the Wise Men, shepherds and angels worshiped the birth of the Christ, so we should remember to keep life in perspective. Writing is fun and consuming, but there’s more to life than just writing. Take time off to enjoy your family, attend a madrigal feast (I’m going Thursday night!), go caroling with friends, and ponder the Deep Magic of this special child.

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