SCBWI LA Summer Conference Impressions

Artwork by Liz Wong
Artwork by Liz Wong

 

Yes, I’m back! I took some much needed time off from the blog to recharge my creative battery, which was getting frightfully low.

Part of that recharge included attending the 45th Annual SCBWI Summer Conference in Los Angeles with my tribe. I never feel more at home anywhere in the world than when I’m surrounded by these people. I always come away feeling fulfilled and motivated.

 

Biltmore Hotel Gallery Bar

We started out in a new venue this year, the (extremely haunted) Millennium Biltmore Hotel, which boasts many specters, one of the most famous being Elizabeth Short, known as the Black Dahlia, who was last seen in the bar before her death back in 1947.

Throughout the conference there were reports of doors and cabinets that refused to stay closed and bathtubs that filled up all on their own. Still, the spookiest thing that happened was when one of our own group from Oklahoma snapped a selfie all alone in the hallway of the infamous eighth floor. But it wasn’t quite a selfie – something was in the background behind her. It freaked everyone out who looked at it, I’m telling you. (If you’re really curious, just ask Ginny to show you sometime…at your own peril.)

DAY ONE

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Our Oklahoma SCBWI gang is ready for the conference to start!

Day One began with a marvelous welcome by the incomparable Lin Oliver and the always entertaining faculty parade. Then it was on to the first keynote.

Drew Daywalt Embraces His Inner Voice

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Drew Daywalt launched the conference with his keynote entitled “Does This Keynote Make My Butt Look Big?” And yes, it was just as funny as you would imagine. But it was also touching and inspiring as well. His first two picture books, THE DAY THE CRAYONS QUIT and the sequel, THE DAY THE CRAYONS CAME HOME have both been very successful. This is not something he was expecting. “I come from a long line of failed picture book writers.” crayonsquit

After growing up one of six kids in a house that was most likely haunted (sensing a theme for the weekend?) he started his adulthood writing screenplays in Hollywood, but found that world very unsatisfying and a little too cutthroat. He kept coming back to something author Jack Gantos once told him, that he had a voice for kids’ books. Yet, he kept put off writing for kids.

Then one day, he saw a box of crayons and thought about how they always had crayons but he never remembered buying them. He gave it a shot and wrote his first children’s book. Ten long years later – it took his agent four years to sell the book – it was published.

After his first school visit, a kid “broke through security” to give him a hug and kissed his cheek. He talked about how that experience changed him.

“Hollywood knocked me down, and a million tiny little hands caught me.”

(Yes, there was a collective “Awww” heard round the conference room at that.)

His picture books express a unique voice, a unique vision. When addressing the concept of voice, he said, “it is absolutely your fingerprint.”

Every story has been told, so it’s been said, but none in YOUR voice. You have to be willing to be vulnerable, too.

Writing a story and asking someone what they think about it is like standing there butt naked and saying, “Hey, do you like it?”

It’s about honesty.

You have to be honest to your own voice, and then you’ll be fine.

Fantastic way to open the conference!

 

Arthur Levine Gets Personal

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Moving into the workshop portion of the morning, the fabulous Arthur Levine, (Scholastic’s imprint Arthur A. Levine  – Harry Potter’s American publisher, that Arthur Levine) gave a talk entitled, “When It’s Personal: Translating Life into Fiction”. He’s also an author and has written several stories that have been inspired from his own life.

“Arguably, all good fiction is drawn from the personal.”  

How do we do this well? We take a story we care about that already has setting, emotions, and characters.

Blindspots are the problem.

When we’re telling personal stories to friends, we don’t have to be as careful about timelines, backgrounds, and setting. There’s a history built in with the audience.

When we try to translate these stories, we forget what’s visible. Interpersonal dynamics aren’t always clear. We don’t know how well this is showing up on the page. We still have all the work of creating characters that live on the page. It’s not visible unless we make it visible.

Sometimes memories aren’t complete. You may only have snippets of  memories from one event that don’t give you a cohesive story.  Diligent research can fill in for memory lapses.

Readers don’t know that you’re mixing and matching as long as it works and there’s fidelity.

Your stories and anecdotes are tools.

What are you trying to say? Does this plot support that? If not, you need to change it. The more changes you make, the more distance and objectivity it gives you.

“Feelings are clothing that other characters can wear – have to tailor to fit.”

Many great ideas for future stories came out of this session!

 

LUNCH!!!

The great thing about our new location is that we were smack in the middle of downtown LA and there was so much going on around us and so much waiting to be explored. After dreading the long line at the hotel café, I saw a tweet mentioning food trucks across the street. Not only food trucks, but live music, and a beyond fascinating moving art sculpture canopy. Lunch time was saved!

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Never-ending line for the café. Blerg.

 

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Food trucks to saved the day!

 

 

 

 

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Me squinting in the ever-so-bright California sunshine while trying to capture the constantly moving reflective sculpture/canopy thingy behind me. (NOT a professional photographer.)

 

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Over head shot of the full floaty art sculpture canopy. Looks like a school of shiny minnows. You can peek through it and see the high rise buildings above.

 

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More floaty sculpture and lunch date, my daughter. Notice the enormous shadows this thing casts on the ground.

 

Sara Sargent Cuts to the Edge of YA Fiction

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Sara Sargent speaking in the very intimidating Crystal Ballroom
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The room was packed and I felt way under-dressed for the décor.

 

 

 

 

 

 

 

 

 

After a fascinating lunch time diversion, and a few more interesting talks,  came a brilliant workshop by HarperCollins Executive Editor Sara Sargent. I just love her – and not because she remembered me from our Spring 2016 SCBWI OK conference and gave me a hug while we were in a crowded elevator together. I’ve never had an editor do that!

Sara’s talk was entitled, “Cutting Edge YA Fiction”. She started at HarperCollins about a year ago to develop books that teens really want to read. She studied these teens in-depth. She thought we should get to know these readers, understand them, “and dare say, even love them”.

What a radical concept!

Here’s some marketing data on this Gen Z:

  • They are the 1st generation to be majority non-white
  • Have an average attention span of 8 seconds
  • Use an average of 5 devices – smart phone, laptop, desktop, tablet, TV
  • More tolerant of gender diversity than previous generations

Their experience at school is totally different than what your was.

**One of the main reasons Sara rejects a manuscript is because it seems like the author is writing to the teen they were instead of to who teens are today.

Excellent point.

Who are you telling the story for? Do you know today’s teen audience?

Sara then gave many ideas on how an author could immerse themselves in teen culture to see what teens today are interested in.

So what does ‘cutting edge’ mean? It plays with expectation and form. To Sara, it’s pushing boundaries and trying new things – “Making me think in new ways.”

Here are some brainstorming ideas to get you started:

  •  Using Adult Novels for Brainstorming – What exciting things are your favorite adult authors doing that you’re not seeing in YA? Same goes for TV shows, movies, webisodes, and Youtube.
  • Backward/Parallel Universe – Think BEFORE I FALL by Lauren Oliver or Sliding Doors movie
  • Using Video Game as a Framework – Like Ready Player One.
  • Complete Opposite – Instead of something to escape FROM, give characters something to escape INTO.
  • Think about a world that has one element our world doesn’t have – one element. Take it away or add it. Think Pleasantville and color.
  • At the Plot -level – Think about character dynamics. Does the football player always need to be popular?
  • Period of time – Play with the limit of time your story takes place – 24 hours, a couple of hours. How would this change/affect a story?

There were so many great ideas. You can rethink storylines and come up with something innovative. The one point she made at the end was that you can be cutting edge while staying true to your own story.

DINNER!!!

Only way to top the first day of great speakers was with dessert…

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Chocolate with chocolate sauce and more chocolate inside? Heaven!
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Me and one of my writer friends from our Oklahoma group, Ginny. (Yes, of the infamous spooky photo.)

 

 

 

 

 

 

 

 

And more relaxing time with my writer friends at the Golden Kite Awards Dinner.

My artistic soul on the mend at the end of Day One.

DAY TWO

I always enjoy listening to illustrators when they give keynotes. (Maybe because they have great visuals in their presentations.) Even though I’m not an artist, per se, I love learning about their stories and their creative process. There is always something to learn and you can always find inspiration in another’s journey. Jon Klassen’s keynote was a great way to start day two.

Jon Klassen Thinks Outside of Himself

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Jon Klassen opened Day Two with his keynote entitled “Finding Yourself in the Work”, which was all about how we go about the process of creating or rather how we don’t. “Your job is to take care of what creates your style, not to try to define it or try to think about it.” When it’s time to do the work, think outside of yourself.

Pretty heady stuff for a children’s book illustrator, yes?

Klassen gave the example of David Bowie creating music as Ziggy Stardust. He had to create this character to begin to create the music for the album. He had to get outside of himself before he could start the project.

Joseph Albert, known for solid color square paintings, would give his art students an assignment to paint a blue square. They would all be different. “All of you have your own style, even with the most basic instruction.” la-scbwi-16-jon-klassen-quote

Start with what you can do. “I was a horrible animator.”  He did like drawing big animals who didn’t look like they wanted to be there. Bears, especially. “Bears have a lot of potential for violence.”  A bear in your studio with a hat could go very badly. He didn’t know how to start with dialogue. Then he started thinking in terms of plays and his characters acting out and using their own lines, not his; it started to work.The idea for the book I WANT MY HAT BACK came about through this process.

He said at one point your process may even drift away from its starting point. You have to be okay that your process will wander in unexpected ways. At one point, it’s not yours anymore, it belongs to itself.

Marie Lu Gets Creative

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I loved racing through Marie Lu‘s LEGEND series. More than anything, I loved the characters. So I didn’t hesitate when choosing my next breakout session to hear her speak on the subject, “Character is King: Bringing Imaginary People to Life”. This was immediately following her keynote, which was also fantastic.

Although she considers herself a panster versus a plotter, she does take a lot of time developing her characters before she starts writing.

“I always plan out my characters. They are very real people to me.”

She then decides how to build a world to suit them.

One idea she expressed that I loved was that when building characters, there should be some opposition to each other. Create tension before you even put them into a room together.

And that was another great suggestion, she plays around with her characters before getting down to writing her story. She will put two of her characters into a room together and write some dialogue just to see what happens.

She discussed many character building tricks she uses. My favorite one was flip it, where you write a scene where a character is forced to act opposite to their strengths and core beliefs until you discover the point that they become weak, selfish, etc. Or the opposite for a villain.

It helps to know what you want from the story and who you want to tell it before you begin.

Truly an enlightening talk.

Later I had the pleasure of getting one of her books signed. She was such a la-scbwi-16-me-and-marie-ludelight! (And I can’t wait to start reading this next series!)

LUNCH!!!

As Saturday was my daughter’s birthday, I treated her to lunch at a fancy schmancy place of her choosing within walking distance of the hotel. Delicious.

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Neal Shusterman Struggles with Chaos

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I feel like I live at the corner of chaos and procrastination, so the title of Neal Shusterman’s keynote, “Making Meaning: The Writer’s Struggle to Find Order in the Chaos, and Stories Worth Telling”, was just what I needed to hear. He discussed the ever-so-slow journey to publishing success with its many failures and missteps and with surprising discoveries along the way.

He even shared some fallacies he discovered about the writing profession, like “never ask for feedback from someone you feed”. Friends may just want to make you happy and parents always have an agenda, he says, but kids will be honest. (Even the ones you feed.) He says the best feedback you can get is from other writers.

At the end, he asked, so why do we write?

How do we find the stories worth telling?

It’s about the reader.

Deep down we have a belief that we have something to say. We need to dig in to our own passions, wrestle with our own demons. If we’re doing it right, we always struggle with whether or not we’re doing it wrong.

I had the privilege of meeting him later to have him sign a copy if his outstanding book CHALLENGER DEEP. He was so nice.me-and-neal-shusterman

BIRTHDAY TREAT AT LOUIE!!!

I couldn’t exactly bake my youngling a cake, but stopping in for a treat at this divine bakery was a fine substitute.

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OFF TO THE BALL!!!

Saturday night means party time!

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(And even though the youngling commented on the goofiness of the old people music and dance moves, she had a great time.)

I had such a wonderful time at the conference this year!

 

#TBT Post – Variations on the Mona Lisa

I wrote this #ThrowBackThursday post for The Great Noveling Adventure blog and it was originally published on October 22, 2014. 

 

WHY STUDYING THE MASTERS IS NOT AN EXERCISE IN FUTILITY

I consider myself to be a fairly open-minded individual. I understand that mine is not the only opinion on any given subject and that each person brings a different perspective to a discussion, shaped by their own unique life experiences. I’ve never met anyone that didn’t have something to teach me or that didn’t have an interesting story to tell.

That being said, there are some hot button topics that will put my strong sense of open-mindedness to its ultimate test. One of those issues is whether or not a writer needs to read books (and read a LOT of books) in order to be a good writer. Want to see me bend over backwards to restrain myself from mentally body-checking someone? Let me hear any writer say, “I’m afraid I’ll take on another author’s style if I read too much” or “I get discouraged when I read books by writers more talented than I am” or “I don’t have time to read.”

Flames. Flames will shoot out of my eyes.

To demonstrate why these and other asinine arguments just don’t cut it, I thought I’d turn to another art form to demonstrate how studying your craft by studying the masters of your medium can not only lead to you mastering your craft, but it can also lead to you discovering your own artistic voice.

Let’s set up our easels, smear some daubs of paint on our palette, and enter the world of the visual arts medium for a moment. Our task for today? Study one of the most interpreted paintings of all time. The Mona Lisa.

 

The original by Da Vinci

Mona Lisa by Da Vinci (She's smaller because she IS small.)

Mona Lisa by Da Vinci (She’s smaller because she IS small.)

 

 

Different interpretations of the Mona Lisa

The Mona Lisa as seen by artist Bembol de la Cruz - This painting was part of The Mona Lisa Project sponsored by the Cultural Center of the Philipines

The Mona Lisa as seen by artist Bembol de la Cruz – This painting was part of The Mona Lisa Project sponsored by the Cultural Center of the Philippines.

 

 

Iya Consorio also contributed her version of Mona Lisa to The Mona Lisa Project.

Iya Consorio also contributed her version of Mona Lisa to The Mona Lisa Project.

 

Artist Vik Muniz created this version of the Mona Lisa using peanut butter and jelly from his "Portraits of Garbage" series.

Artist Vik Muniz created this version of the Mona Lisa, emulating Warhol’s style of the Mona Lisa while using peanut butter and jelly as his medium, for his “Portraits of Garbage” photographic series. He took one artist’s interpretation and then created his own interpretation of THAT interpretation. The mind boggles.

 

 

 

 Mona Lisa interpreted by Graffiti artist Banksy

 

 

Amazing, right?

And these are just the tiniest sample of what’s out there. These interpretations of the original Mona Lisa create new dialogue and add to the conversation of what art is. They are all original art.

When artists expose themselves to the influence of other artists, you can clearly see that it doesn’t make their work the same. None of these interpretations is an exact copy of Da Vinci’s Mona Lisa. Instead, what comes through in each painting is the artist’s own artistic voice. Yes, VOICE! By studying the masters, you not only don’t create carbon copies or their work, you can discover your own true voice!

Think about it. Each person viewed the same original. Why didn’t they create the same painting or the same interpretation? In part, because their artistic talents vary and in part because they all bring completely different perspectives, those unique life histories, to their creative process.

We filter our work through our life experiences, through ourselves. What comes out is our voice. Our own unique voice. That’s why no matter how many versions are written of the Cinderella story, if you have one inside you to tell, it will be unique from all the others that have come before it, no matter if you read every single version.

And let’s say an artist set out to purposely duplicate Da Vinci’s style, what would the artist learn from that exercise? Would that be wasted effort? No. He or she would learn how a brilliant painting works – how the composition fits, the lighting, the shadows, the perspectives – how all the pieces come together. The artist would have learned something valuable about CRAFT.

The same is true of writers who read and study great books. All of these lessons can be applied to our own medium of writing. Our medium uses stories as its easel, the blank page as the palette, and words as the daubs of paint; what better place to study the masters of writing than in books?

What will your Mona Lisa look like?

Get to reading and find out!

Fan That Spark OK SCBWI Fall Retreat – The Recap Part II

 

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Day One of Our Fall Retreat for Oklahoma SCBWI last month had something for everyone, with specific tracks for novel, illustration, and picture book that allowed you to focus on your area of interest. Day Two found us in the capable hands of Linda Urban, children’s book author and mad genius when it comes to dissecting what makes a book work.

 

LindaUrbanLinda Urban – Linda writes picture books and middle grade novels from subjects as varied as an angry mouse expressing emotion (MOUSE WAS MAD), a red-headed boy searching for independence (LITTLE RED HENRY), a girl who dreams of playing pianos only to end up with a wheezy organ (A CROOKED KIND OF PERFECT), and a girl who tries to fix a horrible mistake with a birthday wish (THE CENTER OF EVERYTHING). Urban’s characters are written with so much heart, yours will burst while reading about them.

The focus of her revision intensive for the day was on voice and point of view.   Of course, what is it that agents and editors always say they want in a story, and the one thing that everyone says is all but unteachable?

Voice!

Linda showed us how making the right choice with point of view can affect the voice of your story. Some POV choices bring readers in closer, while some give more distance and offer more flexibility.

Not all YA books have to be in 1st person, and not all Middle Grades have to be in 3rd person. Surprising, I know. Making a more thoughtful choice for your story is essential to giving it the greatest impact.

One specific example Linda gave to show how these two ideas work together is to consider if your character changes the way they express themselves in a moment of crisis. If so, how does POV shape this expression?

Interesting question, right?

Linda teaching us about voice and POV.
Linda at our Fall Retreat teaching us all the good stuff.

Linda also talked about using mentor texts – examples of good writing to be studied and imitated – to help you learn rhythm and sentence structure. You can tear apart these stories and study them; figure out how they work. (Another reason to be reading!)

Here are some great examples she used:

1st Person POV

clementine_book1CLEMENTINE by Sara Pennypacker

In this first book of the series, Clementine tries to help out her friend Margaret, but ends up in a lot of trouble for it. Things get worse each day of the week, until finally she’s worried that Margaret is right: Clementine’s parents might consider her “the hard one” in the family. They’re up to something mysterious…are they thinking they’d be better off if they only had her little vegetable-named brother…”the easy one”?

 

 

book thiefTHE BOOK THIEF by Markus Zusak

It’s just a small story really, about among other things: a girl, some words, an accordionist, some fanatical Germans, a Jewish fist-fighter, and quite a lot of thievery. . . .

Set during World War II in Germany, Markus Zusak’s groundbreaking new novel is the story of Liesel Meminger, a foster girl living outside of Munich. Liesel scratches out a meager existence for herself by stealing when she encounters something she can’t resist–books. With the help of her accordion-playing foster father, she learns to read and shares her stolen books with her neighbors during bombing raids as well as with the Jewish man hidden in her basement before he is marched to Dachau.

 

 

vera with printzPLEASE IGNORE VERA DIETZ by A.S King 

Eighteen-year-old Vera’s spent her whole life secretly in love with her best friend, Charlie Kahn. And over the years she’s kept a lot of his secrets. Even after he betrayed her. Even after he ruined everything.

So when Charlie dies in dark circumstances, Vera knows a lot more than anyone—the kids at school, his family, or even the police. But will she emerge and clear his name? Does she even want to?

 

2nd Person POV

blink and cautionBLINK & CAUTION by Tim Wynne-Jones

Boy, did you get off on the wrong floor, Blink. All you wanted was to steal some breakfast for your empty belly, but instead you stumbled on a fake kidnapping and a cell phone dropped by an “abducted” CEO, giving you a link to his perfect blonde daughter. Now you’re on the run, but it’s OK as long as you are smart enough to stay in the game and keep Captain Panic locked in his hold.

Enter a girl named Caution. As in “Caution: Toxic.” As in “Caution: Watch Your Step.” She’s also on the run from a skeezy drug-dealer boyfriend and from a night- mare in her past that won’t let her go. When she spies Blink at the bus station, Caution can see he’s an easy mark. But there’s something about this naive, skinny street punk, whom she only wanted to rob, that tugs at her heart, a heart she thought deserved not to feel.

 

book-whenyoureachme_f2WHEN YOU REACH ME by Rebecca Stead

3rd Person POV

Mouse MotorcycleTHE MOUSE AND THE MOTORCYCLE by Beverly Cleary

In this imaginative adventure from Newbery Medal-winning author Beverly Cleary, a young mouse named Ralph is thrown into a world of excitement when a boy and his shiny toy motorcycle check into the Mountain View Inn.

When the ever-curious Ralph spots Keith’s red toy motorcycle, he vows to ride it. So when Keith leaves the bike unattended in his room one day, Ralph makes his move. But with all this freedom (and speed!) come a lot of obstacles. Whether dodging a rowdy terrier or keeping his nosy cousins away from his new wheels, Ralph has a lot going on! With a pal like Keith always looking out for him, there’s nothing this little mouse can’t handle.

 

KeeperKEEPER by Kathi Appelt

Keeper was born in the ocean, and she believes she is part mermaid. So as a ten-year-old she goes out looking for her mother—an unpredictable and uncommonly gorgeous woman who swam away when Keeper was three—and heads right for the ocean, right for the sandbar where mermaids are known to gather. But her boat is too small for the surf—and much too small for the storm that is brewing on the horizon.

 

harry-potter-and-the-philosophers-stoneThe Harry Potter Series by J.K. Rowling

 

Harry Potter thinks he is an ordinary boy. He lives with his Uncle Vernon, Aunt Petunia and cousin Dudley, who are mean to him and make him sleep in a cupboard under the stairs. (Dudley, however, has two bedrooms, one to sleep in and one for all his toys and games.) Then Harry starts receiving mysterious letters and his life is changed forever. He is whisked away by a beetle-eyed giant of a man and enrolled at Hogwarts School of Witchcraft and Wizardry. The reason: Harry Potter is a wizard! The first book in the “Harry Potter” series makes the perfect introduction to the world of Hogwarts.

 

Omniscient POV

ManiacMagee500MANIAC MAGEE by Jerry Spinelli

Jeffrey Lionel “Maniac” Magee might have lived a normal life if a freak accident hadn’t made him an orphan. After living with his unhappy and uptight aunt and uncle for eight years, he decides to run–and not just run away, but run. This is where the myth of Maniac Magee begins, as he changes the lives of a racially divided small town with his amazing and legendary feats.

 

bk_realboyTHE REAL BOY by Anne Ursu

On an island on the edge of an immense sea there is a city, a forest, and a boy. The city is called Asteri, a perfect city that was saved by the magic woven into its walls from a devastating plague that swept through the world over a hundred years before. The forest is called the Barrow, a vast wood of ancient trees that encircles the city and feeds the earth with magic. And the boy is called Oscar, a shop boy for the most powerful magician in the Barrow. Oscar spends his days in a small room in the dark cellar of his master’s shop grinding herbs and dreaming of the wizards who once lived on the island generations ago. Oscar’s world is small, but he likes it that way. The real world is vast, strange, and unpredictable. And Oscar does not quite fit in it.

 

Feeling overwhelmed by all the choices? Here’s one final thing to consider:

“Part of deciding point-of-view is knowing the experience level of your readers.” – Linda Urban

I’ve barely brushed the surface of everything we learned. It was enlightening and educational, to say the least. If you get an opportunity to take in a workshop taught by Linda Urban, I highly recommend it.

Learn more about Linda by visiting her website: lindaurbanbooks.com

Follow Linda on Twitter @lindaurbanbooks.

 

 

 

Jennifer Mathieu and Julie Murphy – Joint Author Interview

Today I may have to cut down on the caffeine intake because I’m already buzzing enough with excitement over my two guests. Jennifer Mathieu and Julie Murphy both had extraordinary debut novels that made quite a splash in the world of contemporary YA fiction. (I seriously raced through them in record time. Loved loved LOVED!!!) And now, they are putting all of their fabulous talent together to host a workshop this February for Madcap Retreats. (Yes, THAT Madcap Retreats. The brainchild of Natalie C. Parker.)

One lucky reader will win $100 off this workshop! Stay tuned to enter!

 

Jennifer Mathieu PicAbout Jennifer

Jennifer Mathieu is an English teacher, writer, wife, and mom who writes books for and about young adults. Her favorite things include chocolate, pepperoni pizza, and the super hilarious 1980s sitcom The Golden Girls. She can basically quote every episode. Jennifer lives in Texas with her husband, son, one rescue dog, one fat cat, and another cat that is even fatter than the fat cat.

When it comes to what she reads, she loves realistic young adult fiction (obviously), creative nonfiction, super scandalous tell-all memoirs, and anything that hooks her attention on the first page. She is the author of THE TRUTH ABOUT ALICE (2014) and DEVOTED (2015). Her debut novel, THE TRUTH ABOUT ALICE, won the 2015 Children’s Choice Book Awards’ Teen Choice Debut Author Award.

 

About JulieJulie+Murphy+Author+Photo+copy

Julie Murphy is a potty-mouthed Southern belle who was born in Bridgeport, Connecticut, but found her home in Fort Worth, Texas. She’s never seen Star Wars, but has yet to meet a made for TV movie she didn’t love. When she’s not writing, Julie can be found cruising Costco for free samples, watching Sister Act 2, stalking drag queens on instagram, obsessing over the logistics of Mars One, and forever searching for the perfect slice of cheese pizza. She lives with her bearded husband, two vicious cats, and one pomeranian that can pass as a bear cub.

Her debut novel, SIDE EFFECT MAY VARY (2014) was a NYT Bestseller. Her second young adult novel, DUMPLIN’ (Sept 2015), received glowing reviews including two stars from Publishers Weekly and Booklist, and in less than a month after its release, hit #1 on the NYT best seller list for YA Hardcovers. The film rights for DUMPLIN’ have been optioned by Disney.

 

The Interview

Valerie Lawson: You both have written stunning debut novels, which received much critical acclaim. Tell us about life as a debut author. What was the most surprising experience? What lessons did you learn?

alice_finalJennifer Mathieu: To be honest, I’m still surprised that I wrote a book and it got published.  It took me seven years to publish my first novel. My first two manuscripts got very close but never sold. So I spent my debut year sort of in a haze that THE TRUTH ABOUT ALICE was not only getting published but was getting a very warm reception. 

I’ve learned to approach this writing career with enormous gratitude. It’s my childhood dream come true. It’s so easy to get sucked into the worry cycle or the gossip of the industry. But the bottom line is that once my debut novel hit the shelves, I became a published author. Nothing can ever happen that can take that away from me.

Side Effect CoverJulie Murphy: First, thank you! I am that horrible type of person who believes they can handle anything no matter how many times and how many people have warned them that the road ahead is difficult. There were so many incredible highs, but there were also so many lows that I never believed I’d actually experience or thought I was more emotionally equipped to deal with. I’ve learned that no matter how sane you are, planning a wedding or large family function can turn you into a special kind of crazy. That’s how the debut year is. You’ll be yourself, yes, but it may not be a version of yourself you’ve ever met.

The good news is: you are not alone. You will make fast friends with fellow debuts, because no one else can relate to you like they can. I would have to say the friendships were the most surprising experience and I’d go through it all over again to for these women if I had to. I poured so much of myself into SIDE EFFECTS MAY VARY that I felt like I had nothing left to give and that this was my one and only chance, because I would never be able to recreate this magic. But that’s not true. My second book just came out and I love it just as much. I’m working on my third and am contracted for a fourth. There will always be more books. Sometimes publishing them won’t be so easy, but you will write another book.

 

VL: Gratitiude, yes. And realizing you’re not alone sounds especially important. I love how supportive this writing community can be.

How was the process of writing different for you when you wrote your second novel?

devoted_cvr_revealJennifer: I will say writing my second novel, DEVOTED, was very difficult for me. I really had that classic experience you hear about where your debut is warmly received and you feel total paralysis with the second book. I ended up completely throwing out the first draft of DEVOTED and rewriting it from scratch. I was incredibly late on every deadline which is so not me. I cried multiple times. 

Fortunately, my amazing editor at Roaring Brook, Kate Jacobs, talked me through it and in the end, I’m so enormously proud of my second book. I stretched myself as a writer and I’ve had multiple readers tell me that they can see my growth as a writer in DEVOTED. That makes me feel so good.

CoverReveals_F15_DumplinJulie: I was totally blind when I wrote my debut. I didn’t know what I was doing wrong or what I was doing right. Because of my huge ego, I assumed that if it didn’t feel off, it must all be perfect. DUMPLIN’ was an eyes wide open experience.

I knew my flaws. I knew the mistakes I’d made in my first book. For me, that knowledge was almost crippling. I knew what a published book looked and felt like and nothing about those early drafts matched those expectations. I had to learn to forgive myself of those mistakes and explore the narrative.

 

VL: Throwing out an entire draft? How terrifying! 

Learning to forgive your mistakes and explore the narrative – love that. 

You are co-hosting an intriguing Madcap Retreat this February entitled “More Than a Beach Read”, how did you come to be a part of this project?

Actual location for upcoming Madcap Retreat event - workshop with authors Jennifer Mathieu and Julie Murphy.
Actual location for Madcap Retreat “More Than a Beach Read” with authors Jennifer Mathieu and Julie Murphy.

Jennifer: Well the lovely Julie Murphy approached me and told me about Natalie’s plan to create Madcap Retreats. I immediately wanted to be involved. I think there’s so much to be gained from working intimately on your art with other artists in a concentrated period of time. I’m a huge fan of Julie’s work and Natalie’s work, and I knew I just wanted to be a part of anything they were involved with.

Julie: Natalie Parker is my partner in crime in many ways and when she floated the idea by me, I said I’d think about it. When she said it would be on the beach, I couldn’t say no. I knew I wanted to do something voice and critique intensive, and I knew that would be a lot to carry on my own. When we began to discuss bringing another author on, Jennifer was my first and most obvious choice. I have so many writer friends that I love and respect, but our styles and approaches really click. We both love contemporary and have the same type of values when it comes to storytelling. Let the record show: if I dropped dead tomorrow, I would have faith in Jennifer to finish my work in progress.

 

VL: That is a stunning compliment, Julie! (Please don’t drop dead.) That does speak well to how you must compliment each other.

What can you tell us about the workshop? What special programming do you have in mind?

Jennifer: Julie and I have been working on the agenda and we are looking forward to having roundtable workshop-style critique sessions as well as one on one time with each writer. We’re also planning on bringing in guest authors to tackle different topics. Julie and I really aim to focus on voice and building your writer voice. Some say that voice can’t be taught. While I do believe most writers have an innate ability to craft some sort of voice, I believe there are techniques and strategies you can use to strengthen your ability to make your work really come alive.

Julie: We actually just finished the whole agenda! Jennifer did a great job answering this one, so I’ll just add that the attendees will spend their morning with us really focusing on voice and in the afternoons while Jennifer and I (yes, we’re both reading each attendee’s submission), and supporting faculty members will help paint a broader picture by discussing critique, revision, and plot. In the evenings we’ll also be doing casual but themed panels to discuss our dealings in publishing and the business aspect of all of this.

 

VL: That’s a wealth of knowledge crammed into five days. And so much focus on voice! Wonderful. I know several authors who’d jump at this opportunity. 

You both come from different occupational backgrounds – one an English teacher and one working with teens in public libraries – where you have worked intimately with young people. What has this experience added to your writing?

Jennifer: For me, the teaching feeds the writing. I mean, I basically get paid to do my research. I’m surrounded by the rhythm of adolescence on a daily basis, and it’s so energizing and inspiring. I hear snippets of teenage conversation all around me at all times. On a daily basis I’m reminded of the heartbreak and excitement associated with being a teenager. Of course, my plots are fictional, but my students certainly help me create what I hope are realistic characters.

Julie: Like Jennifer, working with teens hugely impacted my writing. I think it’s easy for young adult writers to romanticize the lives of teens, but seeing them every day, you are reminded of their limitations. The same limitations you most likely experienced as a teen, too. On the other hand, I was constantly reminded of how each generation is defying the boundaries set by those before them. I really miss working with my teens!

VL: Being surrounded by your inspiration. Excellent!

Your workshop focuses on enhancing character and voice in manuscripts. What can you tell us about your writing process that helps you bring these two elements to the forefront in your own work?

Jennifer: For me, the characters become real in my mind. I think about them all the time. I miss them when I’m done with the book and still think about them after the book comes out. For me, I believe crafting a character you almost believe actually exists out there is key to writing a memorable novel. 

For the first time ever I struggled with that when writing DEVOTED. I was writing a story about a young woman in a very insular and conservative religious sect. I’d done all this research on the sect and was just information dumping throughout the entire book, but the truth is, I didn’t know my main character Rachel at all. My editor was like, “Who is she really?” and I realized I didn’t know. 

That was such a terrifying experience because in my first novel (and in subsequent novels) my characters came into my mind fully-formed. I spent a full weekend fixating on Rachel, doing all these exercises like imagining what she kept in the drawer of her nightstand. Finally, she started to come alive for me and the book became much easier to write. I really do believe it all begins with character.

Julie: Voice and character are huge for me, and yet they never come first in my writing process. I never start with a detailed plot, but I always have the pitch and premise and from there is how my voice and character evolve. I usually like to hammer out setting as well since it’s such a huge contributing factor. I like dissecting the situation and deciding what type of person might exist inside the premise and setting.

But when it comes to actual writing, I can’t start anything in earnest until I have a fully formed character. That character and your voice are sort of like a lantern in a dark tunnel, especially in contemporary. You will get lost–and sometimes it’s even helpful to get a little lost–but as long as you’ve got that lantern, you will eventually find your way.

VL: Oh, that’s good!

So if you don’t know your character inside and out, maybe spend some time getting to know them better. Your story will thank you.

Tell us a little about your teen years growing up. What was the most embarrassing thing you experienced? What was the most memorable adventure you had with your friends?

Jennifer: Freud would have a field day with me. I hated high school so much and looking back I can see I was actually fairly depressed throughout my high school years. And here I am teaching high school and writing books for and about high school students. It must be some form of catharsis. There is no one singular embarrassing incident. I was embarrassed constantly, and most of it was over silly stuff I’m sure no one noticed. I ran with a very good girl crowd. I would say my most memorable adventure would be staying up all night at a sleepover and eating too much raw cookie dough. Honestly, that’s as crazy as it got for me.  

Maybe the most embarrassing thing for me happened after some girlfriends and I went to see that movie The Bodyguard starring Whitney Houston and Kevin Costner. They were all so moved by the film they were sobbing hysterically as they walked out of the movie theater and everyone was staring at us and I wanted to die. And all I could remember thinking was, “That was one of the stupidest movies I have ever seen.” I loved old black and white movies from the 50s and 60s like The Bad Seed and The Last Picture Show. I thought there was something wrong with me. I just hadn’t found my tribe yet, but eventually in college, I did.

Julie: Those were some wild years. I was a horrible student. You know those videos of cats knocking things off tables? That was me and rules. I carried myself with this false but impenetrable confidence, so even if embarrassing things happened, I played them off as jokes no matter how mortified I really was, so I can’t think of anything in particular.

But I really did have great friends who on very rare occasions I was even vulnerable with. We always went on great mini roadtrips or had ridiculous parties or even went to some amazing concerts, but what I remember most is just hanging out at home with my closest friends, rolling around on the floor laughing and creating inside jokes. We were all theater kids though, so we were constantly performing and cracking jokes.

VL: Ha! Fantastic stories.(I’m really partial to The Bodyguard one. I can so relate to feeling like that!)

What has been your favorite book to read/book you’ve been most excited about over the past year?

Jennifer: Well I adored Julie Murphy’s DUMPLIN’ of course!  I remember her reading a few pages from it at a retreat she and I went on over a year ago now, and I was so excited for the book and I loved it even more than I thought I would. 

There’s another book I want to mention that I had the opportunity to blurb. I read an advance copy this year, but it won’t be out until March 2016. It’s called SAVE ME, KURT COBAIN and it’s by Jenny Manzer. She and I share the same wonderful agent, Kerry Sparks. I loved this book so very much.  It’s fresh and nostalgic all the same time. Gorgeous, lyrical writing and a plot that kept me guessing until the very end. I think she’s going to be a voice to watch.

Julie: Sadly, this has been such a dry reading year for me. I’ve bought so many books, but time hasn’t allowed for me to start most of them. (Here’s looking at you, DEVOTED!) However, I am listening to the audio of SIMON VS THE HOMO SAPIENS AGENDA and the voice is incredible! Simon is someone I would have been friends with in high school and that makes for an authentic reading experience if you ask me.

VL: More fab books to add to the TBR collection. Nice.

What can you tell us about what you are currently working on? 

Jennifer: I have my third book coming out with Roaring Brook Press/Macmillan on September 20, 2016 and I am having the most infuriating time coming up with a title. But I can tell you it’s told in dual POV and it’s about two teenagers, Ethan and Caroline, and how their lives are linked by a tragic crime. It’s about healing from trauma and finding a soul-saving friendship in the most unexpected place.

(Update: Julie has a title! Her 3rd book has been christened AFTERWARD, and it comes out 9/2016.)

Julie: Sort of. Kind of. Maybe. Ha! I’m working on my third novel, which is currently titled RAMONA DROWNING. It’s about a too tall lesbian who lives in a trailer park with her well-meaning dad and pregnant sister. All is sort of okay until Ramona realizes she’s falling for a friend, who happens to be a boy. It’s a story about sisters and friendship and sexuality and the labels we assign to ourselves. I’m still drafting, so I’m sure it will end up being about more things. My publisher is referring to it is a YA Chasing Amy, which seems like a fair assessment.

VL: Ohh! Both sound exciting! Can’t wait to read more from you ladies!

Thank you both for sharing with us, today. It has been an honor and a great pleasure having you here on the blog.

 

The Giveaway

To entice you further to try out Madcap Retreats, we are giving away $100 off the cost of Jennifer & Julie’s upcoming workshop, “More Than A Beach Read“!

Woohoo!

ENTER HERE!!!  ➤➤➤  Madcap Retreat Rafflecopter giveaway

(If you really, really want to enter, but are Rafflecopter-shy, you can post a comment below – along with your email address – and I’ll manually add you to the giveaway.)

Congratulations to the winner, Elisa J! 

 

Learn more about Jennifer Mathieu here.

Follow Jennifer on Twitter here.

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Follow Jennifer on Instagram here.

Follow Jennifer on Facebook here.

Learn more about Julie Murphy here.

     Follow Julie on Twitter here.

     Follow Julie on Tumblr here.

     Follow Julie on Instagram here.

    Follow Julie on Facebook here.

Learn more about Madcap Retreats here.

Insights from our SCBWI OK Fall Retreat

SCBWI OK Logo

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 Conference – Part 2 Editors Discuss What Books Need and What They Don’t

scbwi la banner 2014

 

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.