Hey, remember me? It’s been a little (!) while since my last post.
I wish I could say I’ve been off climbing Mount Kilimanjaro, exploring the mighty Amazon, or bicycling across France. The truth is much less glamorous: I’ve been writing. Not in a real cave, of course, but the term is fitting. Sitting in a dark room with the computer screen the only illumination is pretty cave-like.
Why the self induced seclusion, you ask? Well, as much as I love posting articles here, it took away from what truly makes my heart sing, writing for young readers.
The turning point came when I was accepted into the SCBWI Nevada Mentorship Program where I received a professional structural edit of my young adult novel. To do the work well, I needed to get serious and put in the time required to take that story to the next level. I suddenly realized that the majority of published authors focused on their next book contract, not writing articles for a blog.
I’m delighted to say that I’m currently seeking representation for that young adult novel. And while I wait for responses, I’m developing and revising picture book manuscripts and planning the start of a middle grade novel that’s been simmering on the back burner for several years.
I do love posting articles here and will continue to do so from time to time. However, nowhere near as regularly as I once did. Now, back to word spelunking in the writing cave.
Mary E. Pearson, author of The Remnant Chronicles, heralded the call to reason that “There is no creative clock ticking!” in her blog post on ageism in YA. This truth, as expressed by New York Times bestselling author Susan Dennard, is worth repeating:
There is no expiration date on writing. There is no expiration date on success, and I will keep preaching this until my younger and older readers believe me.—Susan Dennard
I’m as guilty as anyone for rushing to charge across the Publication Finish Line. I wrote my first young adult novel in two months with the idea that “that would be it.” Luckily, common sense seeped in. I rewrote that book three times before realizing I needed to work on my craft and deepen my understanding of story structure. It finally hit me that once a book is published that’s it. There’s no do-overs. That’s when I decided to take Time out of the Publication Equation.
At a local author event, Mary E. Pearson admitted that it was 10 years before she published her first novel. Her fourth novel, The Adoration of Jenna Fox, was the start of the hit series The Jenna Fox Chronicles. Pearson didn’t rush. She honed her craft and storytelling to resonate on a deeply human level.
Taking time out of the equation
Taking time out of the equation for a project isn’t always easy. It took me a year to figure out the right approach and voice for the picture book manuscript I’m currently revising. I was feeling bad about it taking me so long to get to that point. Then I saw the following tweet by Kate Messner and felt instantly better:
Woke up this morning with the right voice in my head for a picture book I’ve been trying to write for THREE YEARS. Writers, that’s why we should never give up on those dormant drafts! —Kate Messner
In a followup tweet, Kate admitted it had actually taken 4 years!
I’m currently revising for my third young adult novel, as well as my third picture book manuscript. I want my stories to be as good I as I can possibly make them, and I’m willing to work until they get there. You don’t have to be under, or over, a certain age to get published. The secret to getting published is to not give up!
When you’re in a creative slump
I’m not one to wait around for creativity to strike. When I’m in a creativity slump, I work on something different. If that doesn’t help, I immerse myself in other creative mediums, such as film, television series, music, or dance.
I waited way too long to attend my first writers conference. It’s my hope that this post will encourage other budding writers to take the formative step of attending a writers conference, and perhaps inspire veteran writers to keep coming back.
Writing conference reality check
Writing conferences are invaluable for connecting with people who share your passion. Writing is a solitary task, and meeting others who are on the same path is an affirmation that the struggle of words and stories is a valiant one. I always come away from a conference with a sense of kinship, that I belong to a tribe.
I had some strange ideas about writing conferences that held me back. So I was surprised when magic happened after I pushed past my fears and attended my first conference. Here’s a few things I’ve learned since then:
You don’t have to have a polished, ready-to-submit manuscript to attend a writing conference.
You can use writing conferences to workshop the first few chapters of a project, to get a barometer reading on the concept, voice, etc.
You can benefit tremendously from professional critiques in the early stages of a manuscript, getting feedback on concept, direction, and voice.
You learn the business of publishing at writing conferences, a must for anyone who is serious about following the traditional publishing path.
You form friendships with writers with which you can exchange constructive feedback, bolster one another through tough times, and celebrate each others successes. In short, friendships that last a lifetime.
Have a goal and focus on those areas, such as craft, genre, or what agents are editors are looking for on their lists.
Be open to new ideas and ways of approaching your current work in progress.
Be open to suggestions for projects in age groups and genres you haven’t worked in…yet.
Listen with an open mind. Simple, yet so important for professional growth.
Introduce yourself to the people sitting next to you. You never know, they could be the best friend you’ve been waiting to meet.
Relax, absorb as much information as possible, and enjoy the experience.
The DON’Ts
The writing community is small, and industry professionals know one another. A few tips from real-life Conference Horror Stories, and how NOT to become the star of one yourself:
DON’T hunt down agents and editors and force your manuscript on them.
DON’T hunt down agents or editors at all, unless they previously requested that you do so.
Don’t expect to sell your current manuscript for six figures. It could happen, but that’s the exception NOT the rule.
Don’t be discouraged by suggestions and feedback from a professional critique. Instead, see them as positive ways to improve so you’ll be able to land your dream agent or book deal.
Most of all, join the FUN ~ Wild Things could happen!
Richard Peck was an influential voice for me when I started writing for young readers, and with good reason. He was a National Book Award finalist TWICE, as well as claiming the Newbery Honor (A Long Way From Chicago) and Newbery Medal (A Year Down Yonder). Richard Peck was nothing short of a master and commander in the art of writing for young readers.
Before becoming an author, Richard Peck was a teacher. His classrooms were filled with the young audience he’d later write for. He admitted that, “Junior-high teaching made a writer out of me.” Peck may have left teaching, but he never stopped sharing his wisdom.
Richard Peck shared his wisdom on craft through essays, as well. The essay he wrote on importance of beginnings—October/November 2006, Horn Book Magazine sparked a writing epiphany for me. In it he said, “The most important secret of writing . . . you are only as good as your opening line.”
At first I thought that was kind of harsh, so I did extensive research. I went to bookstores and libraries, reading ONLY first lines of books. As it turned out, he was right! The books with great first lines I took home and read.
Don’t confuse a great opening line with over-the-top drama, though. A great opening line shouldn’t be about shock-value. When done right, it sets the tone of the story, reveals character, conflict, and theme. It’s the promise of the premise…distilled into one line. Richard Peck would revise his first chapter 24 times (or more), well after he’d completed the manuscript, to make sure it was right.
Short stories comprised Richard Peck’s first published works, covering the gamut of comedy, tragedy, historical, and contemporary. In fact, his short story “Shotgun Chentham’s Last Night Above Ground” was the inspiration for his Living in Chicago series: A Long Way From Chicago, A Year Down Yonder, and A Season of Gifts.
Peck’s collection of short stories, Past Perfect, Present Tense includes insights and advice for aspiring writers, along with some of his own notes. In the introduction, Peck reminds us that “fiction isn’t real life with the names changed. It’s an alternate reality to reflect the reader’s own world.” He also warns burgeoning writers that “a short story isn’t easier than a novel.” In truth, short stories require a type of samurai self-editing that is not for the weak of pen or faint of heart.
Writing lessons learned from Richard Peck
Before you write a single word, know your audience. Who will want to read the story you have to write?
A story isn’t what is. It’s what if?
Fiction is never an answer, always a question.
A story, of any length, is about change. The characters can’t be the same in the last paragraph as they are in the first. If there’s no change, there’s no story.
The essence of the entire story should be encapsulated on the first page.
The first chapter is the last chapter in disguise.
The story’s beginning should answer each of the following questions with a satisfied “Yes”: Does it intrigue? Does it invite? Does it work?
Strong, colorful characters win over readers, like the quirky, audacious, and warm-hearted Grandma Dowdel in a Long Way From Chicago.
An outrageous comic outhouse calamity is often the reason a story is recommended, word-of-mouth over and over again. Memorable scenes create loyal audiences and inspire lifetime readers.
Agents and editors want stories that have characters they can care about, characters with depth. For the longest time, I had no idea how to accomplish this. I knew depth meant complexity, but how you created that quality in characters was a mystery. Then one day, while watching an episode of NCIS, the pieces of the character-depth-puzzle magically fell into place. Who knew Abby and Gibbs would be the key that unlocked this literary mystery?
1. Mix it up with multiple character traits
In a 2-dimensional painting, everything appears flat. You get the same effect with characters that only have one basic trait—bully, geek, mean girl, wimp, etc. To avoid flat characters, give them multiple traits of varying strengths.
I like the analogy of creating perspective in a painting. What’s in the foreground is more intense and has greater detail. As should be the predominant trait of a character. With increased distance in a painting, objects become lighter and have less detail. Secondary and tertiary character traits should have less focus as well.
When Building a Better Character, reveal the traits over time as the character interacts with others and reacts to various situations.
2. Shake & stir: the good, the bad, and the ugly
Just as characters need a blend of traits to be believable, they must also display a variety of emotions. No one is perfect, and we wouldn’t like them if they were. Show their good side, so we like them, but don’t hold back on the bad and the ugly.
There are several types of heroes, each with a different set of predominant emotional archetypes. Who’s your hero?
Introduce the Quirky Quotient for a memorable, offbeat character.
It’s human nature. The longer we savor an experience, the richer our enjoyment. This is why it’s important for characters to unfold and grow along with the plot.
Think of pealing back the layers of an onion. Each layer should reveal something unique and intimately real about the character. When we first meet someone, we get a superficial impression of who they are. It takes time, and a variety of experiences, before we get to know who they really are. It should be the same with our characters.
Character depth requires change over the course of the story. The Character Arc is a journey that forces the character to confront their frailties to become wiser and stronger.
All great stories are about transformation. To survive, the hero has to change by facing their greatest fear and overcoming it. Blake Snyder—in the popular story structure guide, Save the Cat!—called this The Dark Night of the Soul.
Joss Whedon (Buffy the Vampire Slayer) puts characters through hell—literally and figuratively. This pressure has the same effect as the pressure that transforms a lump of coal into a diamond. It smooths off their rough edges and makes them shine.
You take people, you put them on a journey, you give them peril, you find out who they really are. ― Joss Whedon
As SCBWI President Stephen Mooser said, “Sid the Magician may not be as famous as Sid the Writer. It’s one thing to make someone laugh. But his ability to do that in so many stories with such poignancy is nothing short of magic.“
So it’s no surprise that the funniest writer in fiction worked his magic with hilarious history too.
The Trouble Begins at 8 ~ A Life of Mark Twain in the Wild, Wild West
Who better to tell the rambunctious tale of a young river boat pilot who gallops off to take on the wild, wild West than Sid Fleischman? The tale is all true, and told with a wit as sharp as Mark Twain himself.
The title itself signals the fun that’s to come…taken from the poster Mark Twain used to advertise his public talks: The doors open at seven, The Trouble to begin at 8 o’clock.
Fleischman takes the reins from there with hopping hilarity: “Mark Twain was born fully grown, with a cheap cigar clamped between his teeth.”
You might think (as I did) that Mark Twain began writing as a young man, while piloting river boats on the Mississippi river. Afterall, that was the stage on which his two most famous novels were set: The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn. But no. Those books wouldn’t come until much later. Twain’s writing career began with his adventures in the wild, wild west. Virginia City, Nevada to be exact, writing for a newspaper in a place where tumbleweeds were the biggest thing to blow through town.
The First in Fake News
It’s true. Mark Twain made his name writing Fake News. When there was no news, “Sam gave his bubbling imagination a stir and ladled out a wondrous hoax. He reported the discovery of a petrified man.”
Twain created the tale to stir up trouble with the competing newspaper in town, and tickle the funny bones of the readers. In a time before television and social media this was great entertainment, and an instant success! So much so, the hoax was picked up by newspapers across the country.
The Celebrated Jumping Frog of Calaveras County was the tall tale that brought Twain national acclaim. The short story awarded him notoriety as a writer, but travel and lecture series would consume his time for years. It wasn’t until Twain married and settled in Connecticut that he’d write two of the most celebrated novels in fiction.
Sir Charlie ~
Chaplin, the Funniest Man in the World
Charlie Chaplin embraced the pain of his youth, played with it, then used it to become famous for being funny. He instinctively knew that what makes you laugh the most, also makes you cry the most. Sid Fleischman tells the Little Tramp’s poignant tale, matching Chaplin’s humor with heartwarming empathy.
See him? That little tramp twitching a postage stamp of a mustache, politely lifting his bowler hat, and leaning on a bamboo cane with the confidence of a gentleman? A slapstick comedian, he blazed forth as the brightest movie star in the Hollywood heavens.
Everyone knew Charlie—Charlie Chaplin.
When he was five years old he was pulled onstage for the first time, and he didn’t step off again for almost three-quarters of a century. Escaping the London slums of his tragic childhood, he took Hollywood like a conquistador with a Cockney accent. With his gift for pantomime in films that had not yet acquired vocal cords, he was soon rubbing elbows with royalty and dining on gold plates in his own Beverly Hills mansion. He was the most famous man on earth—and he was regarded as the funniest.
Still is. . . . He comes to life in these pages. It’s an astonishing rags-to-riches saga of an irrepressible kid whose childhood was dealt from the bottom of the deck. [Synopsis]
In case you’ve never seen Charlie Chaplin in action…the following is a clip from his silent movie, A Dog’s Life.
If something is fun, we want to repeat the experience as much as possible. Reading is no different. It’s no surprise that for young readers, the key to keeping them reading is humor.
Terban was a school teacher for decades, learning first-hand how to capture children’s interest and keep them engaged. He was adamant:
“It’s no laughing matter if there’s no laughing matter.”
When children were asked what books they liked to read, this is what they said:
My favorite books are the ones I pick myself.
I like books make me laugh.
Recipes for laughter
“That’s great,” you say, “but what’s the secret to making children laugh?” You’re in luck! Terban shared a few of the ingredients from his recipe for humor:
Use funny names, like Ralph Puken or Bob Booggensnot.
Use funny words. Apparently the funniest words for young readers are: fart, poop, and underpants. In that order.
Kids (and adults) laugh the hardest at the unexpected.
Write what makes you laugh. If you think something is funny, someone else will think so too. Young readers know when humor is not authentic.
Write from your own “most embarrassing” moments.
You have to love the character you’re putting in comedic jeopardy, or else it comes off as being mean. You want your audience to laugh with the character, not at him.
Specific details are almost always funnier than generalizations. For example: Principal Zumba has a mole. Or… Principal Zumba has a mole shaped like the statue of liberty that looks like it’s doing the hula whenever he talks.
Do you have a young reader who isn’t into fiction, yet wants books that are fun? Or perhaps there’s a summer reading requirement looming, and it’d be easier to hog tie the Hulk than to get your kids to read over vacation?
Well…put away the lasso and forget about the Hulk. Your kids will be begging for more, and you’ll want to read these books too. Yes. They’re that good! Thank me later.
I discovered Steve Sheinkin’s work at a Society of Children’s Book Writers and Illustrators (SCBWI) summer conference a few years ago. Sheinkin is a master of finding the fun in history, and narrating the facts in an engaging voice and at a thrilling pace. If there were history books like these when I was in middle school or high school, it’s all I would’ve read.
Lincoln’s Grave Robbers, by Steve Sheinkin
This may sound like a crime thriller, because it is. But trust me, it’s not fiction. Someone actually stole President Lincoln’s body, and this fast-paced recounting of the events will have you on the edge of your seat, turning the pages until you’re done.
On October 20, 1875 Secret Service raid the Illinois workshop of master counterfeiter Benjamin Boyd and arrest him. Soon after Boyd is hauled off to prison, members of his counterfeiting ring gather and devise a plan to get Boyd back: steal Abraham Lincoln’s body from its tomb, stash it in a secret location, and demand as ransom, the release of Boyd—and $200,000.00 in cash.
The action of this true crime thriller alternates among the conspirators, the Secret Service agents on their trail, and the undercover double agent moving back and forth between the two groups. Along the way, we get a glimpse into the inner workings of counterfeiting, grave robbing, detective work, and the early days of the Secret Service. The story races toward a wild climax as robbers and lawmen converge at Lincoln’s tomb on election night, 1876. [Jacket flap]
Bomb, by Steve Sheinkin
This story is close to my heart, because I graduated from a university that played an important—top-secret—part in the race to develop America’s atomic bomb. I didn’t find this out until long after I graduated, and I can’t say I’m proud of the fact. However, this book helped me to reconcile some of my feelings about the United States’ development and use of this deadly weapon. If not us, someone else would have done the same and with potentially more horrific results.
No matter your viewpoint, this telling of the events leading to the creation of the first atomic bomb will keep you spellbound until the last page is turned.
In December of 1938, a chemist in a German laboratory made a shocking discovery: When placed next to radioactive material, a uranium atom split in two.
That simple discovery, dealing with the tiniest of particles, launched a cut-throat race that would span three continents. The players were the greatest scientists, the most expert spies, hardened military commandos, and some of the most ruthless dictators who ever lived. The prize: military dominance over the entire world.
This is the story of the plotting, the risk-taking, the deceit, and genius that created the world’s most formidable weapon. This is the story of the atomic bomb. [Jacket flap]
The SCBWI San Francisco/South Golden Gate Conference (at Asilomar) was earlier this month, my first conference in over a year. Such an amazing conference! I can’t believe I was so short-sighted, to go that long without attending a writing conference.
Oh sure, I had the standard rational excuses, that made perfect sense. Taking a year off from writing conferences would save time, money, and effort that would further my work in progress.
What I totally forgot, was how invaluable it is to connect with people who share the same passion. Writing can be such a solitary journey. I always come away from a conference with my creative energy renewed, and a feeling of deep kinship with others who are called to the writing journey.
Motivational Milestones & Inspiring Insights
Initially, I think of conferences as motivational milestones for my current work in progress (WIP). I admit I am motivated by fear. So when I sign up for a professional critique, I am dangling a figurative hatchet over my head. I will work harder than ever to deliver the best possible pages by the submission deadline, out of fear of public humiliation. I put my self through this trial, because feedback from the editor of a major publishing house is invaluable. I always come away from such a critique with tools for improving my craft, and a clear path for strengthening my story.
Just as important as professional level feedback though, are the insights that arise from the talks and workshops given by the conference’s faculty.
Award winning illustrator E.B. Lewis reminded us all, writers and illustrators alike that:
We’re in the business of amazement.
Jodell Sadler, of Sadler Children’s Literary, invited us to see:
Language is music … music is language.
E.B. Lewis delivered the most profound insight (for me) with his presentation on the language of pictures. He explained the components of an image that make it a story: narrative (plot), emotion, and anticipation (what’s next). A light bulb went on in my head when I realized that these are the same elements that comprise a well crafted scene in fiction.
Stories aren’t bound by format or medium. E.B. Lewis told us of a young boy who said he “writes the pictures”. We writers, paint with words.
Synergy Happens
Creativity is contagious, and the synergy at conferences is nothing short of miraculous. Sparkly new ideas dart about like fireflies, lighting new pathways of possibility.
I learn something from everyone I meet at a conference, and the connections forged can blossom into friendships that last years.
If you’ve ever thought about writing for young readers, join SCBWI now. SCBWI provides extensive professional resources to its members. You won’t find a more welcoming and supportive group. And they’re super fun.
This year’s SCBWI Summer Conference in Los Angeles (August 1-5) was the ultimate blend of inspiration, guidance, and professional advice for children’s authors and illustrators. All the workshops were amazing, but one was particularly memorable for its advice and inspiration: Comedy Comes from the Heart, with Henry Winkler and Lin Oliver.
Henry Winkler is an actor, producer and director, who is best known for his role as “the Fonz” in the 1970’s television series “Happy Days”. Though he is quick to tell you that he’s most proud of writing books for young readers.
Lin Oliver is the co-founder of the Society of Children’s Book Writers and Illustrators, a long-time television writer, and a well published children’s author.
Henry Winkler and Lin Oliver are two of the funniest people on the planet. Put them together in the same room and it’s no wonder things spiral virally into the hilarious.
This dynamic duo teamed up to write 17 books in the Hank Zipzer: World’s Greatest Underachiever series, and have completed four books in the Ghost Buddy series. They are both are hilarious, and they know how to translate that humor onto the written page. You can read my review of Ghost Buddy ~ Zero to Herohere.
The Do’s and Don’ts of Writing Comedy
Henry Winkler and Lin Oliver earned their Fabulously Funny street creds on the page as well as the screen. They know what works, and what doesn’t, when it comes to comedy. Here are some of the comedic secrets they shared with us:
Write what makes you laugh. If you think something is funny, someone else will think so too.
Write what you know is true. Don’t try to write what you think will be funny for a particular audience. Young readers know when humor is not authentic.
There are different types of humor, such as character humor, physical humor, observational humor. Write the type of humor that works for you, what you think is funny.
What makes you laugh the most, also makes you cry the most. Good comedy always has a cringe-worthy (pathos) moment.
Write from your own experience. Mine your own life for “most embarrassing” moments.
You have to love the character you’re putting in comedic jeopardy, or else it comes off as being mean. You want your audience to laugh with the character, not at him.
Good comedy must have tension, just like good drama.
Specific details are almost always funnier than generalizations. For example: Principal Zumba has a mole. Or… Principal Zumba has a mole shaped like the statue of liberty that looks like it’s doing the hula whenever he talks.
Don’t edit yourself on the first draft. Go with your first impulses. Craft the humor afterward.
Use improv to get into the character’s voice. Henry Winkler showed us how a slouch and a tilt of the head, brought out “the Fonz” in his voice.
Titles are very important to young readers. Take the time to craft a terrific title.
“Trying” to be funny is a formula for death. Write down 25 things that made you laugh, then analyze each instance for the elements that made it funny.
Henry Winkler embellishes an explanation for the audience [photos by moi]…
The following advice from Henry Winkler was particularly inspiring:
There’s many ways to do things. You have to be courageous enough to do things your way.
For information on some of the other amazing workshops at the LA13 SCBWI Summer Conference, you can read the official SCBWI blog.
