Writing Strategy 101: Get Involved!

Turns out putting together a writing conference is harder than it looks. I have two years of proof to back that up.

And yet SCBWI volunteers worldwide do this every day and make it look like it’s nothing. Every minute they take to put on those conferences replaces valuable writing time, and, yet, they plan away. For so many years, I sat on the other side of that, slapped my dollars down on the counter (technically, I hit the PayPal button but somehow that image is not as powerful), sat in the audience, and asked myself the whole time if I was getting my money’s worth.  Those days are gone, much like before I became a teacher and stood in the doorway of my son’s second grade classroom thinking of how “I’d run that classroom.” (I saw those Karmic eyes staring back at me once I had my own class of second graders.)

In the end, though, when it comes together—often in a string of hard-pressed synchronicities—writing conferences are the fertilizer that writers need to grow. Especially conferences like the Second Annual Shasta County SCBWI Workshop.

What of those hard-pressed synchronicities? The first editor scheduled to attend the workshop left publishing after the initial flyers went out. So that author extraordinaire Charlie Price would not need to put on an eight hour workshop on his own (though I know he could’ve done it and done a smashing job), we began trying to find a replacement. Eventually, the initial editor attempted to contact a former colleague at a previous publishing house and, with the angels smiling down on us, Noa Wheeler of Henry Holt Books for Young Readers intercepted it. With an enthusiastic, “She’s no longer here, but I’d love to come!” we had an editor.

Between Edgar-award winning author, Charlie Price, and delightful Noa Wheeler, writers left at the end of the day with a full slew of questions to ask their characters and a technique for envisioning those characters in action. The workshop atmosphere allowed Charlie and Noa to work with writers in the moment on improving writing techniques in the moment. It allowed writers to write. And it gave all the attendees an opportunity to really get to know Charlie and Noa who made a point of connecting with attendees and finding out about their writing.

The next time you attend a writing conference, here’s my advice. If you really want to grow, get involved. We're all busy, but look for ways to help. It’s a community effort, and the more you actually connect to the community, the more you will evolve as writers--and as people.

Now I've done "first page" sessions before with varying degress of success. In case you are unfamiliar with how this works, there is usually somebody reading first pages of manuscripts which authors have bravely dropped in boxes at the beginning of the conference. Categories are picture book, middle grade or young adult and pages are formatted in accordance with SCBWI standards (ie. start the title half way down and the text at 3/4 with approximately 11 lines on the page.)

The reason for the popularity of "first page" sessions is probably obvious: the almighty real estate of those 11 lines may or may not keep the agent/editor/reader reading. When I say "I've done" these sessions, I mean I've moderated them. I believe this is the fourth time. It's usually not a volunteer task people jump at for several reasons. First, you need to stand up and read "cold" text you are not familiar with that can go in a variety of directions you may not be prepared for, from sexually explicit in the case of older YA to outright bloody carnage, also YA. Secondly, there are inevitably upset writers who thought they were ready to have their masterpiece publicly criticized and then realize at line 6 that indeed they were not. (Trust me, been there.) Third, there are always the writers at the end who "forgot" the pages would not be returned (why are pages not returned? because they are in a big messy, confused pile that nobody can decipher), but become very adamant about having their pages back. The worst part is that all manuscripts do not get evaluated simply due to the lack of time and, although they are chosen at random, authors are often disappointed that their pages are not read. And each time I've done this, each of these dynamics has happened.

So why do we endure this "first pages" ritual? The primary reason is that if you get very experienced readers that each give their own unique veiw point, you can get fantastic insight into upgrading your first-page real estate. Everybody present gets a better sense of how to finesse this skill. This was the case in Rocklin, California at the SCBWI Spring Spirit Conference this April. The YA/MG first page session was 1 hour and 15 minutes with Lin Oliver, author and SCBWI co-founder,and Andrea Tompa, 8-year veteran acquiring editor at Candlewick. Between the two, they managed to be both kind and give valuable feedback to authors seeking to understand what's needed on those all-important lines. Between reading those excerpts and staring at piles (note the confused look in the photo), I jotted down these tips they gave I thought were key.

1. Don't be coy. Be direct. Your reader will get impatient with things like weather, hearing recipes, etc.

2. Make sure you don't tie into famous first lines. (Admittedly, you may never have seen the line...this translates as READ EVERYTHING, then write uniquely!)

3. Don't overwrite with too much description. Lin Oliver: "Be inside your character. Channel them--this is what you should be doing."

4. If the reader feels their heart rate increasing, this is good... BUT...

5. ...Intense scenes on the first page can be too much. You need it to not feel gratuitous, like it's there for the sole purpose to hook.

6. Don't open with a cliche scene.

7. These questions should be answered immediately: Where are you? What's going on? For what purpose?

8. Limit description on first page.

9. Come in at the right place in the scene. Make SURE you're at the right place. (I have struggled with this point on my first manuscript for years, whereas others are crystal clear!)

10. Don't mutter long dialogue.

11. Match your opening to your book's style. Slow starts are created by lots of description, passive voice, description of landscape. If your books moves at a quicker pace, use less less description, active voice and a punchy sentence structure. Either way, don't bait and switch. Keep consistent from word one.

12. Convey: what is character feeling?

13. Avoid too much screaming! in! the! first! line!

Here're some starters from the mouths of these two experienced children's publishing professionals. Take what works for you. And each time you sit through a "first page" session remember: you might just find that one nugget will make all the difference in welcoming readers into your story. Go forth, brave writers, and create the best eleven ever written.

When I laid out my goals for this year, Rutgers One-on-One Conference topped the list. With my son studying in a Masters/PhD program at RU, it only made sense that I was supposed to be there. When the acceptance notice came I was out of town and my husband said, "The note came. Should I read it to you?" Me: "Yeah, really fast. Just read it really fast." That angst of not knowing was worse than the answer.

It read "yes." Best day ever. My debut YA novel First Break has been a work in progress for four years and here was a chance to get a fresh eyes on the millionth revision. To make it that much better, I got to hang out with my son and his friends for a solid week in the RU playground.

The night before the conference, writer friend Sheri Dillard organized a dinner for writers. About 20 "Blueboarders" (referring to the Verla Kay writer scene) showed up, along with Andrea Brown agent Jennifer Laughran. Having some down time to talk with other writers about what they're working on, where they live and sharing in the joys and pains of writing topped my list of R 1-1 take aways.

The actual conference went down the next day. Best tip: get there early and study the folder. I had five wishlist picks for my mentor and thanks to the genius of the RUCCL, I got one: Stacey Barney of Putnam. All the writers sitting at my table seemed very happy with their matches as well so I'm pretty sure somewhere in the matching department is psychic.

A look through this blog will let you know I frequent the conference scene, but R1-1 is like no other conference. Conference starter Vivian Grey says I won't find one. The combination of having a session with a mentor, a session with 4 other mentor/mentee pairs, experienced writers excited about their craft and editors/agents excited to hear what you're working on make this a one of kind venue.

I leave NJ so happy to have spent a week in my son's world and to have survived my first R 1-1. I take back many new friendships and so many ideas--along with an inexplicable urge to open a Muscle Maker Grill in California.

Me: inspired, well-networked and ready to get to work on my next novel.

Thank you, Tiaras.

I recently returned from SCBWI Orange County Agent’s Day where one of the agents who shall remain nameless said it was “creepy” when writers blog only occasionally.

Just before that speech started, the woman behind me and I struck up a conversation about our writing. She’s mainly a blogger, a weekly blogger, and informed me that she had to arrange her flight schedule around her blog entry which she put out every Monday for—her cat. At that point, she whipped a Popsicle stick with a cat’s photo pasted to it out of her purse and told me her cat had over 4,000 followers that got very cranky if the feline didn’t blog first thing Monday morning.

You decide which one’s creepier.

The topic on my once-in-awhile blogging mind is critique groups.

Writers are like only children. They work alone. They create worlds which they can control. They interact with others when they have to, but mainly they’re happy in their writing caves.

But as an only child myself, I know that friends can replace siblings you don’t have. And as a writer, I know that critique partners can bring perspective and inspiration that is so vital to the writing process. A little company to the cave, if you will.

And we always hear, “Get in a critique group.” But it’s not that easy. You need to find a good fit. You need to trust each other and to feel assured your darlings won’t be abused by your new clan. It helps if the writers are at similar writing levels, but short of an entry exam, how do you figure that out exactly? How do you find your critique home?

This is where the synchronicity that envelops writing comes in. It’s as if the writing Gods shine down upon you and give you just what you need for the project you are working on right then. It’s pretty magic how it works. And for that, Tiaras, I am grateful.

Mills College SCBWI

I always come back from conferences with a list about a mile long, and that doesn't include laundry, dishes, groceries and cleaning the entire house. Tim Meyers, author and all-around good guy, said it best, “You are all feeling completely overwhelmed and like you can’t wait to get started.” (Not on the house cleaning, but on the other stuff.) Tim also told us to “take time to notice the sun.” He lifted our spirits at the end of the day by emphasizing the importance of what we do for kids. Thanks, Tim. We needed that.


Mills College, a beautiful, all-female campus where bathroom graffiti is mermaids, sits in Oakland, California. Volunteer Anne Reilly and I arrived before the sun came up to hang up SCBWI signs in the rain in the hopes that members wouldn’t end up at one of the other multiple events on campus. We watched the day open and members arrive ripe with anticipation. It struck me how it takes a village to throw a conference.

There were two sessions to choose from and speakers moved between both tracks. One track focused more on older YA/middlegrade and the other on picture books. In a stroke of brilliance, sessions were staggered to keep hallways, bathrooms and the snack table less jam-packed.

I was in the main session. All the speakers brought unique offerings. Joe Cepeda started the day with a look into his creative process and prefers to “make it up” rather than copy. He says if you can’t remember what it looks like, close your eyes and remember what it “feels” like.

Agents weighed in. Caryn Wiseman (Andrea Brown) discussed specifics of the market—where it’s been, where it’s going. Joan Paquette (Erin Murphy Literary Agency) talked about the writing process and what needs to be in a manuscript.



Editors gave insight. Kaylan Adair gave a look inside Candlewick (Boston). She covered the 5 W’s of the publishing company and by the time she was done, I felt like I had been there. Lisa Yoskowitz talked about what to make sure is in a manuscript and also announced that she is moving from Dutton to Hyperion (both are in New York and fairly close to each other) and will only be able to receive agent submissions there. (Both very nice editors and instrumental in helping me get out of the Mills College campus when my nav system got thoroughly confused by errant locked gates.)

Authors Pam Turner and Ginger Wadsworth covered the world of nonfiction, including matching photos with manuscript. (Kimxa, did you save the original PMS photos? I might know what to do with those now.) Both seem to love where the world of nonfiction takes them, physically and mentally.

Perhaps the most hysterical speaker of the day was Bruce Hale. I think he should hold workshops and teach writers how to present. If he does, I’m signing up! (Think Toastmasters on crack.)

So many synchronicities happen at these events. For example at Mills, I met a new friend named Angie (an SCBWI newbie). Turns out her best friend was my 23-year-old daughter’s 4th grade teacher in Manhattan Beach where I also taught. Random? I think not. SCBWI synchronicity reigns once again!

SCBWI Pioneers Come to Cottonwood

If we define pioneers as those individuals who go out and explore new lands then Co-Regional Advisers, Erin Dealey and Patti Newman, proved themselves SCBWI pioneers today. They made the trek from Sacramento (two hours south) and landed at North Cottonwood Elementary School's multipurpose room, a perfect venue to meet local members and children's book writers and illustrators.

Due to my ongoing camera issues, my camera died immediately after my first shot so I'm lacking on photo support here. In this picture is Patti Newman (left) and Maggi Milton, first timer talk before we get started.

The day began getting to know each other. Beginning, pre-published authors to veteran multi-published authors were represented. Each shared where she is in the process. And it is a process. Nobody learns this stuff in a day. It's encouraging to hear other's stories. It makes us realize there are so many paths to publication.

We covered some points from the Big Momma LA Conference like what editors are looking for, how to get your manuscript publisher-ready and how to get to know your character's voice. Ahh, the mystical voice.

Erin did an awesome exercise on listening, something we can so easily forget to do. She put a bunch of ojects in the middle of the floor and asked people to pick one. My personal favorite was the rainbow-colored mohawk head mask. As you listen to your object, you find voice. (Lou, the bulldog in this picture, was not there, but if you want you can practice with him. He lives at my doctor's office.) One of the most fascinating parts of this exercise was to see how two different people hear such different story from an object. The point: your voice is unique. Find that.

Erin and Patti represent 33 counties in Northern California, and since Cottonwood sits over two (Shasta and Tehama) they can knock a few more off their list. Thanks, Pioneers. We appreciate your pilgrimage to the great North-North.

One Writer's Place: Day 3

So I hit the send button yesterday inadvertently. My mission was to get photos, add them, take out the line about my camera (though I did want to give a shout out to the nice camera man), but "send" was what went out. Best laid plans.

Here's the beach of which I wrote. It's one of those places that's hard to capture on film it turns out. It lies west facing in a bay which I think is where the grass thing comes from. There are lots of paths like this one.

It's a very quiet, meditative place and I really wanted to sit right where this seagull was sitting, but he looked so content I couldn't chase him off.

So instead I went and picked up potentially the best Chinese take out food I've ever eaten in my life at this little hole in the wall place that somebody told me about when I was waiting in the amusement-park length line at CVS for my antibiotics (to cure the ear infection I hope to not take on the plane.) There, I found my new mantra for my book.

And I came back to the cottage to do just that.