Insights from our SCBWI OK Fall Retreat

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Wrapping up the month-long celebration of our local SCBWI Oklahoma group, I’m going to share some of my insights from our Fall Retreat. It was a relaxed, 3-day event packed full of inspiring, helpful information.

The first day was all about craft. Which is something all writers are never too advanced to brush up on, if you ask me. There were so many great workshops, it was a harrowing decision just narrowing down the choices, let alone finalizing a selection.

 

AnnaMyersphotoCI sat in on a workshop by Anna Myers about point of view entitled “The Real Difference Between First and Third Person” where I learned that this difference is more than a matter of pronouns. To begin with, she told us that first person is the easiest and the hardest POV to write. It’s all about voice. Character drives the story in first person, in every word, in every sentence. “If you don’t have a strong voice, you shouldn’t write in first person.” Voice is still important in third person, but the story’s success is not as dependent on it. The great thing about third person is that not every word has to come from the viewpoint character. Anna walked us through a great exercise with a movie camera, demonstrating how the different aspects of third person – from third person intimate to third person distant – could move you in close or take you out wide of a scene, depending on how close you wanted the view to be – on how much you wanted the reader to experience.

 

sonia-gensler-225In another craft workshop, this one led by Sonia Gensler entitled “Kidlit Romance and Friendship: Keeping it Real”, we learned how important it was to develop the main characters separately. You have to make the readers fall in love with the characters individually before asking readers to fall in love with them as a couple. “They must have an identity separate from the relationship.” Character is key. To attain this, Sonia suggests you start with an in-depth understanding of your characters before you start writing. It is especially helpful to know the answer to the fundamental question of what your character wants versus what your character needs. She gave the example from THE HUNGER GAMES using the main character Katniss. What she wants more than anything is to keep her sister safe. That is her motivation for volunteering as tribute in her sister’s place. But what she needs to survive in the games is to learn to let people in, to trust.

 

Pati Hailey taught us in her workshop entitled “Building Memorable Worlds” that every story has a need for world-building elements, even those populated by ordinary humans. What makes a world memorable is when the elements of the world are put into perspective and introduced throughout the story. Elements need to be specific, authentic, and distinct. A great way to add some of these elements is through the use of similes and metaphors that are not cliché, but specific to your world. Use them as an opportunity to tell something about the character or the world. When describing a room, be specific. Don’t give a laundry list of items; give things meaning and connect them to a character. Also be more original with body movements – wide eyes and shoulder shrugs are over done. Pay attention to what people really do.

After a complete brain workout with  the amazing crafts, our day wasn’t even finished, we got a little introduction to our wonderful featured speakers. I tell you, our SCBWI OK group knows how to spoil us.

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Our first featured guest speaker was Minju Chang, literary agent with Book Stop Literary.

Minju comes from a small agency based in San Francisco that doesn’t do much advertising. They do work very collaboratively and they love SCBWI. She represents MG and YA of all genres and some PB as well. Minju was just brilliant and so enthusiastic about the business of books.

Minju said, “Rejection is inevitable.” She said she and her colleagues understand the frustration. They deal with rejections all the time as well.

She then decoded some editorial rejections for us:

“Not right for my list”     This is an umbrella form rejection

“I love the idea, but I didn’t make a connection”     View this as a bell curve. This means your manuscript is hitting the middle.

“I love this, but I couldn’t get my team on board”     May have already tried to sell similar book and it wasn’t successful.

“I like the concept/character, but there’s not enough story”    Quiet. This is a dangerous word. This means it’s difficult to sell.

Minju then said when she has a client receive this last type of rejection, she may suggest setting that manuscript aside to try again later. Maybe after they’ve made a bigger name for themselves and a quiet book won’t be so scary to publishers.

 

Tracy DanielsTracey Daniels from Media Masters Publicity was our next featured speaker.

She was there to teach us everything we didn’t know about publicity. That, my friends, was a lot. After talking with us for awhile about everything that goes into promoting a book and showing us all of the different social media options out there, she said the important thing was not to get overwhelmed.  (Oh, I was overwhelmed. I didn’t recognize half of the social media logos. And there were at least thirty of them!)

You have to be realistic with your books and with your goals. Know yourself. Be honest about what you want to do to promote your book. Do what is right for you and your book. Not every book needs a big tour splash. The publicity budget your publisher allots for your book may not be as big as you’d like. You may have to invest some of your advance or your own money to do some publicity yourself. Whatever you decide to do on your own, make sure to communicate clearly with your publisher’s publicity department. You may be surprised how much they can help you.

The most important publicity tip she gave us was to create an on-going contact database. This should be a detailed excel spreadsheet with every industry contact you’ve ever made – past and present. This will be an invaluable tool as you move to the publicity/promotion part of your career. Be meticulous! Keep city, state, and zip codes in separate columns. This allows you to search your database by location.

She had so many fantastic ideas for making connections and generating ideas, it was astounding. I wish I could share them all with you.

Our second day was all about the featured speakers. We were finally introduced to our third speaker, Brett Duquette, editor with Sterling Publishing. His appearance was delayed due to the fire at the O’Hare airport, or rather the fire set at the traffic control center near Chicago that grounded hundreds of flights. Yes, that fire. Brett had a less than stellar travel experience and yet he was still in great spirits when he arrived. He was just delightful. (Even though he announced being a proud Cornhuskers fan while deep in Sooner country, I think we’ll still claim him as an honorary member of the SCBWI OK tribe.)

Brett spoke to us on the elusive subject of voice.

Best surprise of the retreat was when Brett Duquette met Tammi Sauer while praising her book.
Best surprise of the retreat was when Brett Duquette met Tammi Sauer while praising her book.

Voice, Brett said, is the cornerstone of the creation of the narrative. “Everything comes from the voice. It’s where we begin to build something out of nothing.”

Brett went on to explain that in his mind, all parts of the story are the voice, really. Narrative isn’t just the beige carpet, it has a voice, too. The language used is in harmony with the character, narrative, setting, etc. Each piece has a voice which adds up to the capital “V” Voice.

Most people forget about the narrative and when they are told they need to work on voice, they only focus on dialogue. Voice is so much more than that.

Consistency is key to voice and good writing. Without it, the story feels unreal or boring.

It’s much more apparent in illustration when voice doesn’t work. You see it immediately. To avoid this, you shouldn’t over explain the action in your text. Make sure to leave room for the illustrators. Brett brought out CHICKEN DANCE by Tammi Sauer. “This is perfect picture book writing because it allows the illustrator room to do their job.” Brett discussed a series of pages spreads where the chickens were trying to pick a talent for the talent contest.

Bowling was out. So was juggling. And tightrope walking.

With concise language choices, Tammi set up the joke and let the illustrator deliver it.

Much to his surprise, Tammi was in the audience, just a few feet away. Brett then said it was a good thing he only had nice things to say about her book. It was a fantastic moment to witness. Then it was back to business.

He said the way you learn to do what Tammi did, to leave those spaces for the illustrator to be creative and tell part of the story, is you have faith that the editors will be able to envision a great book and the illustrator can do their job and create great illustrations.

Brett had so many great writing exercises for us to work through to help us really understand what he was telling us. It was an awesome session on voice with a capital “A”.

Anna and her Quilt of Many Book Covers
Anna and her Quilt of Many Book Covers

 

The final day was for wrapping up, a speaker panel, and for saying goodbye. Some goodbyes were more tearful than others.

Our dynamic leader of 14 years, Anna Myers, passed the torch on to Helen Newton with many tears spilled, but not before she received some love back in return. We all pitched in a gave her a quilt made with all 20 of her book covers on it, including her latest release, her first picture book. Anna will still be a part of our SCBWI OK family as an Regional Advisor Emeritus.

Although I don’t see how this retreat could ever be topped, it wouldn’t surprise me in the least if the next one was even better.

If you somehow missed this awe-inspiring event, make sure to mark your calendars now for the spring conference on March 28, 2015. You will not want to miss it.

Thank you to all of our guest speakers who traveled so far to be with us and to all of our fantastic local talent that made the craft day such a wonderful success. I learned tons of new information that will stick with me and I know I’m not alone there. This great event wouldn’t have been possible without all of you.

 

What I Learned at the SCBWI LA Summer Conference – Part 4: Maggie Stiefvater Character Thief

 

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photo courtesy of Official SCBWI Conference Blog, photo by Marquita Hockaday
photo courtesy of Official SCBWI Conference Blog, photo by Marquita Hockaday

Maggie Stiefvater (or steve·otter, as she pronounced it) author of the NY Times best-selling SHIVER series gave an excellent workshop on character at the SCBWI LA Conference. Her novel THE SCORPIO RACES was a Michael L Printz Honor book. Her most recent series is THE RAVEN CYCLE.

She’s also a Character Thief.

This came about because she discovered that she could not create anything unique from scratch, the least of which was a believable character that could actually walk and breathe on their own. To create her own unique characters, she has to start with real, live human hearts. She moves on to create what she calls people portraits. Using her background as an equestrian portrait artist, moving on to people just made sense.

She wanted to create characters that you’d still be able to recognize as Stiefvater characters, not unlike pointing out master painters’ pieces, just from their style, from across a gallery floor.

Before she tells you how she creates her characters, she tells you some basic rules. Although she’s not big on rules herself, she did know the rules first. If you break the rules after you know them, then it’s experimenting.

Character Rules

  1. The narrator should be the character who shifts the plot the most.
  2. The narrator should also be the one who changes the most – a more intriguing character is one where the change is both internally and externally symbiotic.
  3. Characters have to be sympathetic/relatable – Maggie doesn’t actually believe in this rule, herself. She feels you should understand the motives of your characters, but you don’t have to agree with their choices.
  4. Writing as if you are the character – it’s bad writing to write self into a character. Especially if it’s accidental or if you’re having a character deal with a problem you yourself are facing at that moment. Ex: “When I’m angry, how do I react?” You should be wondering, “When my character is angry, how does my character react?” However Maggie also disagrees with this rule to a degree– if you accidentally do this, it’s bad, if you do it on purpose, then you’re creating a portrait of yourself.

 

How she steals characters is she begins with first impressions – like how you meet a person for the first time in real life. What you first notice about them.

Look past the first observations; look for something that contradicts your idea of who you think that person is. “Look at the moment when you change your mind about a character.”

She’s not a fan of character questionnaires – they don’t really tell you anything important about them. What they physically look like is mostly irrelevant. Doesn’t tell you WHY.

Character interviews can be helpful for voice. “I learn about my characters by moving them through the plot. I may throw out the first 10,000 words because I’m just using them to get to know the characters.”

Everything should be a character. This includes the setting, which can even have its own character arc. The forest in THE RAVEN CYCLE series, for instance, is a distinct character. It is sentient and plays a vital role in the series. The weather/setting arc in SCORPIO RACES mirrors the character arcs.

You want to lie as little as possible when creating your characters. The more fantastical you settings, the more realistic your characters should be.

Villains often have very clear motivations. Most people aren’t like this – not as clear-cut. For villains, whatever they want in life gets in the way of what the protagonist wants.

I had a chance to get a book signed by Maggie at the end of the conference, and true to her artistic roots, she had a little something extra for her fans who bought SINNER, the stand-alone companion to the SHIVER series. An original Stiefvater artwork book cover. Sweet, right?

Learn more about Maggie Stiefvater here.

Follow Maggie on Twitter here.

Follow Maggie on Tumblr here.

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What I Learned at the SCBWI LA Summer Conference – Part 3: The Perks of Being Stephen Chbosky, with a Superb Side Order of Jay Asher

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Stephen Chbosky PicStephen Chbosky wrote and directed the feature film adaptation of his novel PERKS OF BEING A WALLFLOWER. That’s quite an impressive feat. He also gave an exceptional keynote address, giving away his top tips on how to write your own timeless classic, at this year’s SCBWI LA Conference.

Before that, I sat in on a breakout session he did with Jay Asher, author of 13 REASONS WHY. Their talk dealt with how to write realistic page turners. I thoroughly enjoyed getting to hear what these men had to say.

Chbosky stated his background was more screenplay-based and that he learned more about the page turn from watching Buffy the Vampire Slayer (created by Joss Whedon) and reading Alex Cross books (by James Patterson) than anything else. “It’s all about what happened or what happens next.”

Asher pointed out that his novel, 13 REASONS WHY, had a plot-driven suspense, while Chbosky’s PERKS was more character-driven suspense. Chbosky Jay Asher picstated that he wanted the reader looking in the wrong direction so he waited to introduce elements to allow the reader to make assumptions or ask questions. Take Charlie’s teacher, for instance. He waited to introduce the teacher’s girlfriend to allow the reader to question the teacher’s motives towards Charlie. What’s the relationship here? Is the teacher gay? What’s going to happen to Charlie?

Asher added to this with a quote from Stephen King: “Making the reader guess.” Involving the reader in solving the mystery – making them guess the clues – keeps them reading, keeps them excited. As Asher was writing his book, he was thinking of how he was going to get the reader to guess the clues.

Chbosky said, “And that’s why he’s (Asher’s) so great. He’s making us write his books as we go along.”

Asher said another way to keep the reader turning the page is to write as clean as possible. He wrote 13 REASONS WHY so that the reader would not be able to put it down. He was afraid if they did, they would stop reading it. So, he kept the chapters short, with each leading into the next, and he created micro-mysteries that kept the suspense building along the way that did not allow the reader to come out of the story. He even made his character names easy to pronounce so readers wouldn’t stumble over them as they read.

Chbosky discussed that one of Charlie’s micro-mysteries is what’s going to happen with the sister when she gets hit and Charlie is asked not to tell. Chbosky stated that it’s important to get your readers invested in the well-being of every character. “If you can make your readers care about all of your characters – from the biggest to the smallest – that’s a major accomplishment.”

Moving on to Chbosky’s keynote, he started by pronouncing that, “The next generation of classics are literally in this room.”

He discussed the rejections he received for PERKS OF BEING A WALLFLOWER. It took him 70 pages of writing awful stuff, just to get a fantastic title. As he was writing this awful beginning that wasn’t working, he asked out loud, “Why?” The answer he heard in his head was, “Guess that’s what happens when you’re a wallflower.” He scrapped everything, but the title and started again.

This was the first step in his journey to writing a timeless classic. There are three steps to follow:

  1. Find your Great Idea - He discussed how creative types have difficulty recognizing what’s beautiful or transcendent in themselves. How we as writers don’t always recognize the great ideas we have inside us. That’s why when you’re trying to find your great story, you should write down every idea you have and then share that list of ideas with the people closest to you, who genuinely want you to succeed. Everyone who reads the list will gravitate towards one or two ideas.
  2. Find the Right Genre – There’s one that fits you and your story. Don’t worry about what’s popular. Find what matches your need to tell your great idea.
  3. Study the Classics – Do this to spur you on, to challenge yourself. Because, what the hell, you’re gonna die; you might as well go for it.

Besides these three rules, he encouraged everyone to live a life that challenges you every single day. Find what’s beautiful in yourself. Find the story you’re meant to write. He calls it, “Fuck the market.”

Then take the time to make it great. “There’s no such thing as writer’s block; you’re just editing too early.”

He ended with this: “Books change lives. Books save lives. Books change the world.”

I had an opportunity to meet with Stephen Chbosky shortly after his keynote and have him sign his book for me. He was charming and dynamic. And told me a short, self-deprecating anecdote about having to give a speech shortly after President Clinton at an awards ceremony where he didn’t come off as well. Nothing intimidating about that situation.  His speech was amazing and made us feel, if just for a moment, like we were all infinite.

And then I got to admire Stephen Chbosky for a moment where he told me story about how nervous he was accepting an award right after Bill Clinton spoke - "Yeah I wasn't as good."

Learn more about Stephen Chbosky here.

Follow Stephen on Twitter here.

My Top Five Things for Friday – a TGNA Post

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It’s my turn to post over at the newly relaunched group blog, The Great Noveling Adventure. Since we now have set themes for each day, this is List of 5 Friday. I decided to give everyone a sneak peak at my top five favorite things I learned from the SCBWI LA Summer Conference. For those of you following along with my series of posts here, it’s a nice preview into some of the things I’ll be sharing more in-depth on this blog, coming very soon.

TweetDon’t forget that I’m also hosting AM #sprints every weekday morning on Twitter @Novel_Adventure. Join me if you need some motivation to get started or if you just need some companionship as you work on your own great novel.

What I Learned at the SCBWI LA Conference – Part 2 Editors Discuss What Books Need and What They Don’t

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There was a very lively Editors’ Panel this year, and the discussion was all about what you should have in your manuscript and what you shouldn’t. The dynamic panel included:

Alessandra Balzer, VP and Co-Publisher at Balzer + Bray, an imprint of HarperCollins Children’s Books

Mary Lee Donovan, Editorial Director at Candlewick Press

Allyn Johnston, VP and Publisher of Beach Lane Books, a San Diego-based imprint of Simon & Schuster

Wendy Loggia, Executive Editor at Delacorte Press/Random House Children’s Books

Lucia Monfried, Senior Editor at Dial Books for Young Readers

Dinah Stevenson, VP and Publisher of Clarion Books, a small imprint of Houghton Mifflin Harcourt

Julie Strauss Gabel, VP and Publisher of Dutton Children’s Books, an imprint of Penguin Young Readers

 

Editors Panel w/Lin Oliver moderating. Pic from Official SCBWI Conference Blog
Editors Panel w/Lin Oliver moderating. Pic from Official SCBWI Conference Blog

 

 

The first question addressed to the panel asked for one good thing they looked for in a manuscript.

Overwhelmingly, the answer was voice.

Mary Lee Donovan expanded on this: Voice is what you bring to your manuscript automatically. Don’t try to imitate, or echo another writer or style. Make sure you are writing authentically as yourself so your voice comes through. “If you are writing authentically, you are writing in your voice.”

Allyn Johnston added that she wanted the unexpected; something that gives her goosebumps. And no elaborate cover letters, for her. She would rather you spend more time developing your manuscript.

Lucia Monfried said, “Originality. It’s a rare quality that grabs you.”

Dinah Stevenson said she’d like to see a beginning, “Not only an invitation into the story, but something that contains the seeds of the ending, so it sets up a satisfying journey.”

Julie Strauss Gabel echoed the importance of voice, and then mentioned for her personally, she’s very attentive to fit. As in fit for her imprint and for her as an editor. And she said this isn’t just a surface fit, it’s about that unique one-on-one relationship. Never write to general masses or trends. From your voice to your manuscript, you have to be able to stand by it. “I’m looking for something I can champion.”

Others echoed this and the importance of diligent research before submitting. Suggesting writers look over editors’ lists, read interviews, and find other useful information that is available on the internet.

Alessandra Balzar, Mary Lee Donovan, and Allyn Johnston. (pic from Official SCBWI conference Blog)
Alessandra Balzer, Mary Lee Donovan, and Allyn Johnston. (pic from Official SCBWI conference Blog)

 

Second question asked editors to discuss things they did not want to see in manuscript submissions.

Allyn Johnston said, “Don’t be weird.”  Don’t send your manuscript inside a green plastic fish (which she held up for all to see) or with a satin eye patch.

Boring manuscripts was another common theme.

Alessandra Bray added that she sees some writers, in an effort not to be boring, overload the start their manuscript with so much action or sex drama that it is overwhelming. She suggested we as writers should, “introduce us to your characters” and leave out the “dark and stormy night bits”.

Wendy Loggia gave this insight on how to know if you have a boring manuscript: If only you get excited about your work, it’s probably boring. When you practice pitches, if others show interest, that’s good. If not, that’s bad.

Julie Strauss Gabel added that If she doesn’t get engaged or see the voice or if it’s pedestrian, she’s out. She then said that the very best stories come from very personal places. Always think about why this story has to be told.

Allyn Johnston, Wendy Loggia, and Lucia Monfried (pic from Official SCBWI conference blog.)
Allyn Johnston, Wendy Loggia, and Lucia Monfried (pic from Official SCBWI conference blog.)
Dinah Stevenson and Julie Strauss Gabel (pic from Official SCBWI conference blog.)
Dinah Stevenson and Julie Strauss Gabel (pic from Official SCBWI conference blog.)

 

 

 

 

 

 

 

 

 

 

Third question asked each editor to discuss what they looked for in a fresh, snappy manuscript.

Many reflected on ideas of craftsmanship and dealing with a writer who understood story structure. An emphasis on educating ourselves as writers was expressed over and over. Too many manuscripts come in that read like first drafts. Writers are not taking enough time to edit.

Lucia Monfried stated, ” There’s no speeding up how to get better as writers. Take your time; learn your craft.”

Dinah Stevenson said that a manuscript screams out first draft when a writer has thrown in everything and the kitchen sink. “Craft means making choices. It’s part of the process.”

Wendy Loggia added that she looks at the overall structure of the manuscript. Paragraph structure, sentence breaks, chapter endings, etc. “I love to step in and make suggestions, but it’s great when I can tell that a writer has an idea of how they want the manuscript to look.”

Allyn Johnston said, “When I’m in the hands of a professional, I can relax.” She then shared a quote from Mem Fox to share what she’s looking for: “When the emotional temperature of the reader has changed through the experience.”

Julie Strauss Gabel expressed ‘sharability’ as something she looks for. “Word of mouth is the key to this business. We’re here because we care about who is going to read this book.”

Alessandra Balzar said she wanted to see a hook – that thing that makes a manuscript fresh, unique. “What hook really means is the ability for the book to stand out.” What’s going to make someone say, ‘Oh, you have to read this book.’ – and that book is yours?”

Allyn Johnston and Mary Lee Donovan both commented on wanting books that fulfilled this golden moment when they become a reader. When they let go of the editor part of themselves and just enjoy the story. That is the golden moment and that’s when they know they’ve found something special.

Overall, a fabulous panel with lots of great insights and pearls of wisdom from these experts in the field of publishing.

 

 

 

 

What I Learned at the SCBWI LA Conference – Part 1 Meg Rosoff, the Queen of Weird and Champion of the Imagination

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This week has been incredibly busy with the relaunch of my group blog, The Great Noveling Adventure, and hosting all those AM writing sprints, but what fun! I’m going to continue doing them as it gets me up and writing every day. I didn’t want September to start without beginning my LA conference recap posts, so here’s the first one. I had hoped to bring back some extra signed copies of some books, but due to another sold-out conference, this one with record-breaking attendance, the bookstore was pretty picked over by the time I got around to it. Still, I think I may just have something up my sleeve to give away later in the month.

MEG ROSOFF SPEAKS ON IMAGINATION

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Meg Rosoff, author of Printz Award book HOW I LIVE NOW and THERE IS NO DOG, opened the conference with her keynote entitled “Warning: Peter Rabbit May be Hazardous to Your Health” where she discussed how some psychologists and other “experts” were telling parents not to allow their children to read fairy tales. Why? Because fairy tales were dangerous.

Yes, dangerous.

They teach children an unrealistic view of the world. She quoted from an unnerving number of sources, which stated things like this jewel of wisdom:

“Even fairy tales, the ones we all love, with wizards or princesses turning into frogs or whatever it was. There’s a very interesting reason why a prince could not turn into a frog – it’s statistically too improbable.”(This was from a Telegraph article.)

Who can argue with such logic?

In Rosoff’s opinion, they were all missing the point. Imagination is not a dangerous thing for a child to develop, in fact, it is essential. To prove her point, she began her talk with a retelling of GOLIDLOCKS AND THE THREE BEARS and she gave it a realistic bent, as these experts would have us do.

(Me paraphrasing extensively.) She entered a house, actually it was a cave. And instead of finding three bowls of porridge what she actually found were three rotting rabbit carcasses. “This is disgusting,” she said.

She went to lie down after this, but instead of beds, there were piles of leaves mixed with bear excrement. When the bears came home, they growled at her – “if they could speak a language, it would probably be French-Canadian” – and then they disemboweled her and ate her.

The End.

Not exactly warm and fuzzy. And quite nauseating, to boot. But hey, it’s more realistic, and according to the “experts”. exactly what children, today, need in their stories. Can you imagine a childhood devoid of imagination? A world where children grow up learning only to think in rational ways? THAT is a truly terrifying tale.

When her own child went off to college and shared fears of not being as good or as smart as the other kids in the physics department, how_i_live_now_3-125x200this is what Meg said to her:

“You may not ever be a genius, but you read books. You know about plot, character, stories. You know about letting your unconscious mind follow things to new conclusions. Reading books strengthens imagination and lateral thinking. A good scientist needs imagination. Reading books may even make you a GREAT scientist.”

Imagination is essential to great thinkers, to creative minds. It’s not something one should outgrow or overcome.

“Imagination and the ability to tell a story will make anyone better at anything, with the possible exception of politicians and accountants.”

Reading about the fantastical, the improbable, allows kids to imagine the what ifs. It’s our job as writers is to try to understand the world and take risks to write the strongest, fiercest, most subversive tales. This means not being afraid to engage with the darker parts of ourselves. That’s where some of the really important stuff can happen. Break the rules, be subversive. Write a book no one else may want to read.

In one review after her second book, it said, “Meg Rosoff is the queen of weird.” She took it as a compliment.

“Imagination is very dangerous. It can change the world. And that’s why we write.”

Learn more about Meg Rosoff here.

Follow Meg on Twitter here.

My Favorite Quotes and Some Pics from this Year’s SCBWI LA Summer Conference

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Things have been moving at a break-neck pace ever since I returned from the SCBWI LA Summer conference earlier this month. My less-than part-time job has picked up substantially and the group blog I participate in is coming back from vacation next week with a bang – all new format, a few changes to the line-up, and one hell of a fabulous contest with a gazillion prizes, including books and critiques! (Details on that coming very soon.) Not to mention squeezing in all the important revising that must continue. And I haven’t even talked about our Fall Retreat that’s (ack!) in just a few weeks.

Despite all of the chaotic activity, I really wanted to get started with my yearly conference-inspired blog posts. To tease you all a bit with what I have in mind, I thought I’d start with some of my favorite quotes from this year’s event.

 

“Imagination and the ability to tell a story will make anyone better at anything, with the possible exception of politicians and accountants.”

- Meg Rosoff

“Craft means making choices. It’s part of the process.”

-Dinah Stevenson

“Teletubbies, better than a valium.”

-Judy Schachner

“There’s no such thing as writer’s block; you’re just editing too early.”

-Stephen Chbosky

“When stealing from real life, there’s a process of subtraction.”

-Maggie Stiefvater

“Anyone who writes down to children is simply wasting his time. You have to write up, not down. Children are demanding. They are the most attentive, curious, eager, observant, sensitive, quick, and generally congenial readers on earth…Children are game for anything. I throw them hard words and they backhand them across the net.”

- Megan McDonald reciting from famous E.B. White quote

“You never again love a book the way you do as a child.”

-Linda Sue Park

 “I’ve always struggled with my own smallness.”

-Sharon Flake

“Being an artist is the way you live your life.”

-Tomie de Paolo

“I was brave in my writing in a way that I wasn’t in my life.”

-Judy Blume

Yes! Judy freakin’ Blume! Her talk was the perfect way to end the conference, I have to say. I actually teared up just watching her cross the stage to the podium. LOVE HER!!! She’s so freakin’ adorable and moving and everything you imagine that you just want to hug her to pieces and then stuff the pieces into your mouth. Too weird? Sorry. But it’s Judy freakin’ Blume!

Snapping out of my fangirl fog, let’s get back to the quotes for just a second. See if you can guess how these fantastic little tidbits will play out as blog posts in the weeks ahead as I dole out the jewels of wisdom I received on my journey out west. Until then, I leave you with some vacation pics. Enjoy!

 

Me and my lovely critique partner Barbara Lowell at the PALS event where she just about sold out of her first book! Love her!
Me and my lovely critique partner Barbara Lowell (remember when I did an interview with her on the blog?) at the PALS event where she just about sold out of her first book! Love her! (Probably didn’t hurt that Bonnie Bader used her book as an example during one of her talks. Impressive, no?)

 

Insanely gorgeous art installation/wall of plant life at the mall across the street.
Insanely gorgeous art installation/wall of plant life at the mall across the street.

 

 

The Jerry Bennett allowing me to admire him for a moment as we both show our excitement for Stephen Chbosky's keynote.
The Jerry Bennett allowing me to admire him for a moment as we both show our excitement for Stephen Chbosky’s keynote. I have a sad update for all of  you Jerry fans – he has had a facial hair accident of unknown origin and is currently beardless. It’s shocking to all of us, but we’ll should try to help him through this sad, trying time.

 

And then I got to admire Stephen Chbosky for a moment where he told me story about how nervous he was accepting an award right after Bill Clinton spoke - "Yeah I wasn't as good."
And then I got to admire Stephen Chbosky for a moment where he told me story about how nervous he was speaking at an awards show right after Bill Clinton spoke – “Yeah, I wasn’t as good,” he said.

 

 

Me and some more of our Oklahoma group, Brenda Maier and Catren Perks-Lamb at the Golden Kite Luncheon.
Me and some more of our delightful Oklahoma group, Brenda Maier and Catren Perks-Lamb at the Golden Kite Luncheon.

 

A beautiful night in LA.
A beautiful night in LA. Can’t wait for next year!