For those of you who are wondering where the posts went--- I had the draft of a post ready to go in January. Then, my mom passed away two days before the end of 2020. I didn't want to celebrate the new year, or anything else. 

Those of you who use my blog to help find book suggestions, here are a few links to other blogs I personally refer to that have helped to get the word out about fantastic new picture books while I was on hiatus.

Susanna Leonard Hill's Perfect Picture Books: https://susannahill.com/for-teachers-and-parents/perfect-picture-books/

Kirsten W. Larson's Books for Curious Readers on IG and Youtube: https://kirsten-w-larson.com/2020/07/27/youtube-ig-tv-book-reviews/

 John Schu: Books. Connect. Read. http://mrschureads.blogspot.com/

The Brown Bookshelf : https://thebrownbookshelf.com/

 I haven't been totally absent from the writing world. I've been drafting and writing shorter pieces. Some for "work" and some just for my own fun. Amanda Davis' #haikufromtwo Storystorm challenge is one example of the fun writing. (Select two words at random from a book you just finished and write a haiku--it doesn't have to have anything to do with the book). Today was my sixth haiku post for IG (PAPBwriter):

#HaikufromTwo #6 by Wendy Greenley

Two random words from Disappear Doppelgänger Disappear by

Matt Salesses

Writing Exercise inspired by amandadavis_art #Storystorm

 

Trouble and Troubling

Startling words selected

Karma, Fate or luck

 I'm also part of a panel discussion this weekend. The book festival is FREE, so register now:

 Hopefully, I'll be back to the regular picture book review posts soon. Meanwhile, I wish everyone a belated Happy New Year.

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?

Find a Conference and GO!

Last weekend I attended the MD/DE/WV SCBWI conference. That’s a mouthful. A tasty morsel of writing goodness.

Author/Agent Ammi-Joan Paquette on left

I had never been to one of their chapter events before, but it ran like clockwork. These folks are on the ball. By the time I checked back to their website on Monday, it was updated and the event was gone. Luckily, I took notes.

However, I don’t really need notes because the minutiae of what each speaker said isn’t the point of this post (although I will give those of you who weren’t fortunate to attend a brief run down!). The point is—it was wonderful to spend time meeting other writers and writing professionals. I even had a face-to-face with an online writing friend I’d never met in person. It was a tremendous mini-vacation. For twenty-four hours, I didn’t have to think about what anyone else needed. It was all about me and writing. The next time someone asks you what you want for your birthday or any other holiday involving gift-giving, instead of “stuff,” think of asking to go to a conference. 

T.A. Barron spoke first about the necessity for joy and heroism in stories, and how he weaves these elements into his own work. I guess other listeners were as impressed as I was because by the time I got to the “bookstore” they set up at the conference all of Mr. Barron’s books were gone.

Editor Jill Santopolo was the second speaker. For her, character is the hook that draws her into a story. She advised everyone to put an interesting, imperfect character in a challenging situation and have the character show an element of likeability in the first chapter—if not on the first page. I had to leave ten minutes before the end of her presentation for my critique while she was still using book examples to illustrate what she meant. I’m the kind of learner who needs to “see” something, so the examples were enormously helpful.

My critique with Mr. Stephen Mooser was stellar. Yes, the man who co-founded the SCBWI was there in person, giving encouragement and advice. He has a knack for not just pointing out problems, but also brainstorming solutions. He is a true critique rock star.

Ammi-Joan Paquette was speaking while I had my critique, so if someone who was able to hear her wants to chime in below in the comments, that would be great!

The last speaker before lunch was Mr. Mooser. Talking about the digital age and using quotes from Daniel Nayeri, Mr. Mooser noted the overwhelming number of books being published and advised authors to be sure their work was both as good as traditionally published books AND that they have a way to drive readers to find their work before they go a non-traditional publishing route. Classclownacademy.com is Mr. Mooser’s new interactive website for his self-published book of the same name. He advised writers to think in terms of this sort of additional content before going the self-publishing route with children’s books.

Mr. Zelinsky signing, and signing...

Picture book writer and illustrator Paul O. Zelinsky started us back after lunch. Using his own work, Mr. Zelinsky explained how he structured a picture book. Then he showed illustrators how he looked to museum paintings as inspiration. Finally, everyone got to see the “interior” of an interactive book featuring the work of a paper engineer. Making the images slide and glide isn’t as easy as it appears! Paper magician may be a more apt term for the engineer. We were treated to the hysterically funny Z is for Moose book trailer, with Mr. Zelinsky noting that he didn’t believe the trailer increased sales, but that teachers and librarians like to use them.

Editor Sylvie Frank explained why some picture books are too quiet and admitted that in today’s market she probably would have rejected the classic Goodnight Moon. She also advised writers to avoid formulaic manuscripts. Even though a particular story style worked before she wants to writers to push themselves to write something new and different. (Note: she has recently left Holiday House and joined the Paula Wiseman editorial team).

Agent Evelyn Fazio was the final speaker before the question and answer panel. Focusing on dialogue, peeves that she mentioned are unnecessary use of foreign speech patterns and interrupting dialogue with explanation. She advised writers to focus on setting up scenes before dialogue and make language relatable.

By the time the day finished, my notebook was full of notes for my own manuscripts and fresh ideas for new projects. Sure, the three to four hour drive each way was a drag but doable.

So what are you waiting for? Check your schedule then go find a conference in your area!

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!

NJ SCBWI Conference retrospective - Part 2

Day two of the NJ SCBWI conference started with a keynote speech by author/illustrator extraordinaire, PeterBrown. Once again, I wished I was an illustrator but having viewed the portfolio presentation tables I know I’m not only not in the ballpark in terms of my artistic ability, I’m not even in the game. I will continue to do all my painting with words!

My first workshop was a First Pages session. Neither editor in my session (Connie Hsu and Steven Meltzer) is open to submissions from the slush pile and this was a good opportunity to have our work read by them. A volunteer read each of ten pages then the editors reacted. It was encouraging to hear that the editors liked the voice and character of my middle grade novel. Then came the editors’ wish lists; one was looking for “YA novels with opportunities for illustration,” the other wanted picture book characters who “let their freak flag fly.” That’s right—neither was looking for middle grade this time around, but perhaps the right project could change their mind . . . .

My signed copy!

Agent Marietta Zacker’s Visual Literacy was my second workshop. She talked poignantly about the importance of visual literacy in her own life, arriving to America as a non-English speaker. Then as a group we discussed why publishing picture houses were requesting shorter word counts in picture books. Marietta urged writers picture books through YA to “just tell the heart of the story.”

Author Sudipta Bardhan-Quallen led the next workshop in Advanced Picture Writing. She bravely posted power point slides with quotes from editors’ letters rejecting her own work or requesting revisions to illustrate possible reasons our work might not make the grade. Amazing. My favorite quote wasn’t from one of the letters, but from Sudipta herself. “Too quiet isn’t a taste issue, this is a market issue you cannot overcome.”

Advanced Nonfiction with editor Carolyn Yoder was my next workshop. She urged everyone to show passion in their cover letters and breadth in their bibliographies. One thing I hadn’t realized was to include sources we consulted but didn’t use in our bibliographies. “Keep the rich details of your research and avoid overgeneralization but make sure details are relevant and necessary.”

And there was still more! My last workshop on day two was an easy reader/chapter book workshop with editor Jenne Abramowitz. Comparing and contrasting these two formats, Jenne emphasized that these genres cannot be “quiet.” Readers spend a short time with these formats and so these titles must be even more attention grabbing than middle grade and young adult offerings.

Then let me use my best infomercial voice. But wait, there’s more!

The day also included lunch at a table with editor Heather Alexander, a one-on-one critique with the talented picture book author Tara Lazar, dinner with fellow writers and then—no rest for the weary—peer critiques into the night. 

Whew! That's a lot of inspiration.

But day three is still to come--

Writing Conference Preparations - Part 2

Last week, after I hit the publish button on Writing Conference Preparations – Part 1, I realized I had forgotten something important. I’m not sure if it classifies as preparation because it harkens back to the act of signing up itself. But is probably the most important thing I remind myself when I attend a conference. And that is—

Sign up for everything!

I didn’t do this for my first conference, and I regretted it. 

Conferences are expensive both in terms of time and money spent. I want to get the best return on my investment. I’m sure everyone who attends a writing conference wants an editor or agent to fall in love with their work. But other than working on craft and becoming the best writer I can, there’s no way to control this variable. But I can make sure I’m going to peer critiques and meeting the other interesting people around me. I don't plan to be in my room by myself unless I'm sleeping. When there’s a time slot where I can be active with my peers, I’m in. Pre-conference intensive. Check. Mix and mingle. Check. Writing conference success. Check.

(Wikimedia)

Another way I use my conference time? I volunteer.

At the upcoming NJ SCBWI conference I will be the “workshop facilitator” for one of the workshop sessions. Do I think this will fast track my words to stardom?

Nope. But I do think conferences are important, I appreciate the opportunity to attend and I want to help them run smoothly and keep costs down. If checking the volunteer box helps the organizers who make these opportunities possible, I’m all in.

So what else did I do this week in preparation for the upcoming conference?

I chose my wardrobe wisely. And I’m not talking style. Frankly, as long as it’s within the bounds of decency, I don’t think anyone cares how I dress. At other conferences I’ve attended, depending on the venue, folks wear anything from t-shirts and blue jeans to business casual. But the important consideration is—layers! I spent one entire workshop last year sitting on my hands because the room was so cold. The conference organizers sorted it out later in the day, but that first workshop was physically painful. The reverse can also be true. Air conditioners break or are overwhelmed. I want to be able to focus on the subject matter and not be at the mercy of the indoor elements. 

Yesterday I started practicing my pitch for a recently completed middle grade novel. I have a four minute pitch slot with a terrific agent and I don’t want to sit there like a blathering fool. I know there will be nerves, and I know when push comes to shove I may forget my own name and end up talking nonsense anyway, but at least I know I prepared the best I could. It’s easy to talk about my novel for twenty minutes, not so easy to condense my enthusiasm into one or two, leaving time to talk with the agent.

This morning, I printed off the three copies of my first page for my first pages workshop. Printers have a way of running out of ink/toner at the most inopportune moments (those of you with kids who wait until the last minute to write papers for school know what I’m talking about!). I put it in the folder along with my critiques, hotel confirmation and directions to the venue. While I have a GPS, it’s been wrong before and I’m a visual person who likes to see where I’m going in advance.

I think I’m ready! I'm reading my contributing author's copy of the newest Chicken Soup: Inspiration for Writers, jotting down motivational messages to myself, shadow-boxing writing demons, practicing the Ann Cuddy's TED talk body language.

Anyone have any other suggestions for me?

NJ SCBWI Writing Conference Preparations- Part 1

When I signed up in March, it felt like it was ages in the future, but now the NJ SCBWI conference is only two and a half weeks away!

Sometimes, I sign up so far in advance for a writing conference, it’s easy to forget about it until it’s almost on top of me. But to get the most out of my conference, I know I need to be prepared. This is more than polishing the manuscript(s) one final time. Even if the manuscripts aren't what the editors and agents are looking for, I know I can have a "successful" conference.

• The first part of my preparation was to be sure I met all the deadlines for manuscript submissions. The editors, agents and authors who are doing the critiques at these venues are busy people. The deadlines are there for a reason, to allow them to give the proper attention to everyone’s work. I don't want to be memorable for all the wrong reasons-- begging for an exception to the deadline. And while the workshops are wonderful, the personal feedback from individual critiques is invaluable.  I want to take advantage of every opportunity!

• I signed up to do peer critiques at the conference, so I’m doing them now! The peer review time is a great opportunity to meet other conferees in a relaxed setting and I don’t want to ruin it for everyone else by showing up unprepared. It's easy for life to throw unexpected curve balls my way, I'm going to have these beauties done and in my file ready to go before this weekend.

• My business cards are up-to-date, so I don't have to run out, or jump online to order more. While I don't think they're "necessary," they're nice to have if anyone asks.

• What’s next on my list? Later this week I plan to review the names of the workshop leaders. In the internet age, there’s no excuse to show up not knowing anything about the presenters. I had a choice of workshops and chose the slots I did for a reason. But it’s been two months since I made those choices. I need to take a moment to review why I wanted to attend each and write down the goal I hope to achieve (in the future, I'm going to try to remember to do this when I sign up!). Was it just getting to meet a particular person? Is it learning about an area of the craft that I felt weak in? Perhaps I wanted to ask a specific question? I know I have to write it down--now! It’s easy to be overwhelmed by the frenetic pace of the actual event and forget to do the one thing I wanted to do—yup, that’s my voice of experience with a been there/done that, (“forgot that”) moment. 

Conferences are a big investment of time and money. Next week, Part 2 will cover the "final" preparations.

If you have conference advice you want to share below, I'd love to hear it!

Musings on the SCBWI Fall Fest 2012 – Part 1-Setting & Point of View

This fall, my friend Debbie and I carpooled to the SCBWI Eastern PA's Fall Fest in Lancaster, PA. When my kids were younger, I always made time to arrange play dates for them, but my own play dates became fewer and farther between. Carpooling isn’t just a good way to save money on gas and tolls, it’s a great way to spend time with writing pals.

The event itself boasted an amazing faculty. A mix of authors, agents, and editors. But as with most things in life, we couldn’t “have it all.” We had to select workshops from a list. Because I write picture books and novels, I decided to take a smorgasbord approach, choosing workshops with different presenters and different focuses, and this turned out to be a good choice for me. For those of you who couldn’t attend, I’ll give a thumbnail sketch of the sessions I attended.

The cover of my conference folder

My first workshop was “A Look at Setting through the Eyes of Your Character” presented by novelist, Edie Hemingway. Edie reminded us that setting isn’t just the places and things that characters interact with in a physical way, although that’s part of it. Setting is also the details that set mood and reveal character. In some cases, the details may be literal, and in other cases metaphorical. She used the isolation of Katherine Paterson’s Newbery winner “Jacob Have I Loved” as one example of a metaphoric symbolic setting. Her handout has a huge flowchart that I will use as a writing checklist. Finally, we took time for a writing exercise—thinking about one of our own manuscripts and making a list of places where setting is (or could/should be!) important. I thought of four places where I wanted to insert more character observations in one of my middle grade novels. Thanks, Edie! The only negative during this session was that the room was freezing. In between making notes, I sat on my hands.

The second workshop I attended was picture book author Ann Bonwill's “Picture Book Point of View.” This workshop was in a warm room . Although the title of the workshop referenced picture books, and Ann used picture book examples to illustrate what she meant, the exercises she used would apply equally to all genres. Ann reminded us that one important part of point of view isn’t just thinking about first, second, third POV-- it’s deciding which character should be the main character to begin with. Who should tell the story? Perhaps a minor character needs a starring narrative role? She also talked about the form in which we write (prose, poetry, dialogue) and some of the advantages and disadvantages of different forms. We finished the session with exercises, rewriting familiar stories from a different point of view. During the exercise, I got excited by some of my ideas. The creative juices really started flowing! This exercise was a big help too when I got stuck at times during the PiBoIdMo challenge last month. I’ve realized that sometimes the character that comes into my mind first isn’t the best one to tell his/her/its story.

That was about half the Fall Fest day. Watch for Part 2 coming soon...