A Kernel of Writing Advice

While it is a wonderful to get caught up in the heat of writing, the words flowing from a pen (or onto a computer screen) unbidden—the fact is that the words ultimately need to make sense to an audience. 

One of the best pieces of writing advice I’ve received was that a scene I wrote didn’t have to be true—readers had to believe that it was true. This advice works on two levels. 

First, if you’re writing something that is based on events or emotions that really transpired, unless you are writing nonfiction and are in essence telling the reader “this happened,” it doesn’t matter that it’s true if it isn’t believable. Conversely, if something is believable, it doesn’t matter if it’s the biggest whopper or scientific impossibility on the planet.

Writing for kids is especially fun because kids embrace the absurd. But within the parameters of a story, the absurdity still has to make some sense. In recent Caldecott winner  Jon Klassen’s “I Want My Hat Back,” because the rest of the plot makes sense, no reader stops to ask—why was a bear wearing a hat in the first place? Mo Willems makes us believe that a pigeon really could drive a bus if we only gave it the chance. In the subtle interplay between the believable and the absurd we can see these authors’ craft.

Last month I was fortunate to attend an SCBWI picture book workshop with Christopher Cheng. Next month I’m heading to the MD/DE/WV SCBWI conference. I’ve found that attending workshops is an investment in craft that repays itself many times over.

What’s one piece of writing advice that has helped you?

NJ SCBWI - PART 3

            If you looked for Part 3 (day three) of the NJ SCBWI conference on Tuesday, I apologize. My summer schedule may be more erratic, but know that I will eventually get to everything and try not to leave you hanging too long!

            By the time day three arrived, my head was starting to spin from the number of amazing people to listen to and learn from. Lucky for me, day three started with a speech by the amazing debut picture book author Tara Lazar who somehow managed to kick awesome up another notch. If you haven’t read The Monstore yet, stop reading and go find it. During my one on one critique Tara emphasized that good writing isn’t enough in today’s market. It’s all about concept and hooks. Her book is a master class on these.

            Done reading The Monstore?

            Okay, then I’ll continue.

Me and Peter Brown (see my 12x badge!)

            My first workshop was with Charlesbridge Publishing editor, Julie Ham. Julie led us through the

thirteen qualities she uses to evaluate non fiction. And yes, she said she really has a checklist she uses when she reads, and edits. I don’t want to “give away” her talk, but wrapped up in summary the take home lesson for me is to inject personality into nonfiction. The market is done with dry textbook chronologies. Write about something you’re passionate about and let the passion show.

            Agent John Cusick had to fight technological gremlins to get his workshop off the ground. I think there’s a story angle somewhere in the need for so many adapters. Dibs on that. Once he got the power points rolling there was no slowing down! Looking at published works, he took us through a variety of first lines and why he thought they worked. And after he told us what to avoid, he showed first lines that did exactly what he said not to do and became huge classics in literature. For example, the soft opening in Looking for Alaska – “I woke to my alarm.” A no-no turned yes. So what’s a writer to do? Make your first line the best one for your story.

            The editor panel was next. Six editors talked about pet peeves and the industry in general. For poetry writers, they emphasized the importance of linking your poems in a collection that would have a curriculum tie-in. With this tie-in the book has a better chance of being back-listed and becoming an “evergreen” title. All six were looking for multicultural stories (as everyone else in the industry appears to!).

            After lunch, the incredibly brave Lauren Oliver took the stage for her keynote address. She was incredibly brave because the day before she had to cancel her workshops at the conference due to illness. Still, she faced the packed room on Sunday and worked her magic. Her youtube videos are great, but in person she rocks. Having read some of her books (I bought my copy of The Spindler there and hadn’t read it yet!) it was amazing to hear how she fumbled about for direction at the beginning of her writing career, learning craft as she wrote and discarded stories.

            The last thing before I left? Book signings by Lauren Oliver and Peter Brown. The hardest part of the weekend? Leaving the conference center, hoping the inspiration I felt at that moment was part of me now, not to be left behind.

Oh, and I forgot to add that I participated in a pitch session, too. At that moment, I went almost totally tongue tied and had to blabber nonsensically to loosen my voice. I had practiced and practiced, but wow, it went spectacularly bad. The agent at the other side of the table was an angel to me and I appreciate her calm advice.

            So what’s my advice to anyone who stops by to read this? The is an annual conference. GO! Put it on the calendar now. Maybe I’ll see you there next year!