Panel discussion with publishers

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Recently Ingrid Sundberg, YA writer and illustrator, posted on her blog, Ingrid’s Notes, an excellent piece covering the 2011 SCBWI-LA summer conference panel discussion with five publishers. Ms. Sundberg writes on her post some of the questions raised by the moderator to the panel: 

What kind of skills does an author or illustrator need? What do you expect from them more than just the ability to write? 

What about self publishing? 

How does New Media affect picture books? 

Visit her blog to find out the answers to these questions and many more. I was there during that panel discussion and found it extremely helpful and interesting.  
And here’s a peek at the Publishers Weekly Children’s Books (long list) – Spring 2012 Sneak Previews Compiled by Shannon Maughan 

Happy Harvest 

“I always yield to the inevitability of events in my novels even when it causes me to shift course, toss away pages and notes and make sudden revisions.” – Robert Cormier

YA Debut novel

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I just returned from a book signing at Barnes & Noble for a writer friend of mine, Guadalupe Garcia McCall. It was a lively event where kids from the middle school where McCall teaches performed in mariachi groups to the delight of the crowd.
The YA book, Under the Mesquite, published by Lee and Low Books, is McCall’s debut novel. I first met McCall two years ago at the SCBWI-LA conference where she was on a panel of Latino writers. I found out she lives very close to San Antonio so we’ve become friends. 
Guadalupe Garcia McCall
It’s always a pleasure to see writers you know, especially local ones, get published. We all know how much work goes into the writing process and so we congratulate one of our own. Wishing you the best with your new book, Lupe!

“An author who is proactive in her book’s marketing and promotion is much more desirable than one who waits for the publisher to make the first move.” – Writing Tip from Writer’s Digest Weekly Planner

Picture book illustrations

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I’ve always said that a picture book is collaboration between the writer and the illustrator. In my opinion, the illustrator brings our stories to life. I always have my own vision when I write the story. However, I’m always amazed at how much better the illustrator’s vision is for the same story. I leave it up to these talented artists to work their magic.

Take a peek at the 2011 Best Illustrated Children’s Books by the New York Times Book Review. The post, published by Pamela Paul on Arts Beat blog, announces the ten titles. 
You might also enjoy Shirley G. Webb’s post, “A Book is Born,” on the Institute of Children’s Literature blog. She describes her excitement when she first became a “published author.” 

Piñatas

“Know yourself. Listen to a lot of music. Don’t whine. Maintain your sense of humor; indulge your sense of play. Persist, persist, persist.” – Kathleen Krull

Critique groups

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I know I’ve mentioned critique groups before. I just had a critique session with my group yesterday and their comments were right on target. In certain areas of my manuscript where I had misgivings, the group readily picked up on it without me mentioning it beforehand. That was enough validation for me to revise those parts.
The Austin SCBWI has a brief description of what a critique group is. They mention the “sandwich” method, which I’m sure many of you have heard before. Critique etiquette and group parameters are also addressed. Join a writing group in your area and form a critique group. You’ll not only make lifelong friends, but you’ll get valuable feedback.  

A group of writers, including yours truly, recently participated in Educator Appreciation Day at a local Barnes & Noble. The teachers and librarians in the audience were treated to presentations by the authors. A booksigning followed. We had fun!
Educator Appreciation Day
“Nothing one ever experiences or feels is wasted.” — Lynne Reid Banks

Dialogue in your story

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Sometimes as writers, we struggle with dialogue in our stories. Is the dialogue in our story boring, an info dump, or does it move the action along like it’s supposed to?  “Not all dialogue is created equal.” That’s what Jan Fields writes on her post, “Diagnosis Dialogue,” on the Institute of Children’s Literature blog. She addresses the different types of dialogue, the problem, and the diagnosis. She gives examples as well. Interesting post. 
In the book that I’m reading, Writing Tools, by Roy Peter Clark, one chapter devoted to dialogue begins with, “Use dialogue as a form of action. Dialogue advances narrative; quotes delay it.” Another great line in that chapter: “… dialogue defines a story because its power drags us to the scene and sets our ears to the action.”
What I like to do once I’m finished with a chapter or the story itself, is to go over the dialogue on the pages, highlighting it in blue to see if there is too much on the page or not enough. I also check to see if it is moving the action forward. What about you?

“The biggest mistake a writer can make is not taking the time to fully understand the publications, publishing houses, or literary agents she queries.” – Writing Tip from Writer’s Digest Weekly Planner

San Marcos Texas Author Day

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Join us for the annual San Marcos Texas Author Day on Sunday, October 30, from 2 to 5 p.m. at the San Marcos, Texas, public library. There will be a host of authors including yours truly. I will be doing a reading of The Battle of the Snow Cones at 2 p.m.

From the San Marcos Mercury: “These published writers and illustrators will sign copies of their books and chat with fans. A variety of genres will be represented including Texana, mystery, romance, memoirs, children’s literature, poetry, and non-fiction.” 

San Jose Mission Window

“ … one day you experience a new joy, that of your story being published (giving birth). Everyone sees this beautiful thing that you have created. They will dress it up (illustrations and packaging). Family and friends shower you with praise.” These are some of the words Shirley G. Webb wrote on her post, “A Book is Born,” for the Institute of Children’s Literature blog. It’s a wonderful piece that addresses the passion, the revisions, the rejections, and all that goes into the process of finally getting a book published. 

  

“You must write for children in the same way as you do for adults, only better.” — Maxim Gorky

Word choice in scenes

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Guest blogger, Ingrid Sundberg, had a really good article posted on The Parking Lot Confessional blog. Titled “The Right Word,” it addressed the topic of word choice in your manuscript. A few weeks ago, I had a manuscript critiqued at a local conference, and the editor talked about using the right word choice to bring a scene to life.
Sundberg has a couple of examples in her piece and also two exercises that go into more detail. In the first exercise, “Scene Analysis … pick a scene in a book where you (as reader) felt an emotional connection….  Exercise two … Write with Word Lists … A great way to use this technique in your own work is to create word-lists.” Of course, you need to read the entire piece to appreciate why word choice in scenes is critical. According to Sundberg, “a new emotional layer has been added to your work with the touch of a few carefully chosen words.” 
She’s right. 
Pinatas
I love the definition of scenes in the book, Writing Tools: 50 Essential Strategies for Every Writer, by Roy Peter Clark. The author writes, “You don’t build a story or a book of words and sentences and paragraphs—you build it of scenes, one piled on top of the next, each changing something that came before, all of them moving the story inexorably and relentlessly forward.” 

“I try to leave out the parts that people skip.” – Elmore Leonard

Handwriting in cursive

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This doesn’t have anything to do with writing, but in a way, it does. Handwriting in cursive, that is. I wrote an essay on penmanship a couple of years ago and it was published in our local paper. The other day I came across an online article dealing with the same topic. Titled “Should cursive be saved?” it was posted by Kathy McManus on The Responsibility Project blog. 
According to the article, there are supporters of the flowing script and those who think it’s not really needed anymore. Comments in the article: “… But others say there is zero need to save a communication form which fails to prepare students for a practical future. ‘Do people need to be able to write? Of course,’ said one online commenter, who continued, ‘Is cursive the best method? Probably not, given how few people use it on a daily basis.’” 
In this day and age of texting, IPads, and PCs, I guess penmanship is fading. I’m glad I had a chance to learn it, though. What do you think?
Aguas Frescas
“Great editors do not discover nor produce great authors; great authors create and produce great publishers.” – John Farrar

The Chautauqua Experience

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Lucky enough to have been the recipient of a scholarship, I attended the Highlights Foundation workshop in Chautauqua, New York, two years in a row. It was quite a while back, but I still remember the excitement of it all. Besides meeting and getting books autographed by renowned authors and illustrators, I enjoyed the fabulous food, basked in the tranquility of the campus, and made lifelong friends. I’d like to share some of what I learned about the craft of writing. 

“A writer is the verbal painter,” said Peter Jacobi, professor emeritus of journalism at Indiana University. He used examples of art and music, sensual art versus impact. 

“Capture your reader,” he said. “Think first, plan, then write.”  Some of his writing tips: 

§  Promise and deliver – The first page should set subject, tone and direction. Then what you promised the reader must began to be delivered. 

§  Flow – Make your narrative flow steadily ahead. A river of words unbroken from start to finish. 

§  Clarity in language – Lucidity in thought. Word choice. Seek to find the right one. 

§  Rhythm – Listen to your sentences as they grate against the mind. How do they come together? 

§  Movement – Do not bind your story with a pile of ingredients where there is no sense of movement or forward propulsion of your story. 

§  Surprise the reader with the unexpected from left field. 

§  X-ray – Take the reader behind the scenes. 

“Nice writing is not enough,” he said. “Surprise the reader along the way. Do not write the fact that it’s raining, but the feel that you’re being rained upon.”

 There was much, much more. I am only able to skim the surface in this article. I hope many of you will one day be able to attend the writers’ workshops at Chautauqua. It is well worth it. Most rewarding was the accessibility of the faculty and the inspiration and guidance they offered in a setting that most writers only dream about.

If you want to write for Highlights magazine, make sure your story applies to their mission statement. Address your manuscript to the appropriate editor.  Go to their web site, www.highlights.com, subscribe or get a copy of Highlights so you can get an idea of what types of stories they’re looking for.
“When composing a magazine article, it is usally better to write with a specific market in mind so your work will match the publication’s style and tone and be directed toward its unique readership.” — Writing Tip from Writer’s Digest Weekly Planner

Writing Animal Stories

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The Children’s Writer is taking submissions for their Poetry or Verse Story Writing Contest. Polish that story you’ve been working on and submit before their deadline of October 31, 2011. Visit their website for contest rules. Good luck!

I once wrote a story about a dog that was rescued from the animal shelter by a family when they saw him perform in a local school play, Little Orphan Annie. Although it hasn’t been published yet, I’m thinking of resubmitting. I took it out of my file, read it again, and decided it’s pretty darn good. I might just resurrect it someday soon and send it out.

This thought was triggered when I read the post, “5 Tricks Animal Writers Should Know,” on Writer’s Digest Chuck Sambuchino’s Guide to Literary Agents Blog. The guest column by Patti Sherlock, award-winning author, (latest book, A Dog for All Seasons), offers tips on how to write animal stories starting with “Respect what animals mean to your audience.”  Take a peek.

Pumpkins, pumpkins, everywhere!

 

“So much can be said and felt through poetry in just a few words or lines. A poem can have as much impact in ten, twelve, or fourteen lines as an entire novel.” — Lee Bennett Hopkins