Taking a Leap

I have two announcements today. 1. The winner of Tracy Bilen's book giveaway is... Jeanette! Tracy will be sending you a copy of 13 Little Blue Envelopes. Thanks to everyone who commented.

And 2. HAPPY BIRTHDAY TO ME!

Yes, today is my birthday, and I'd like to reminisce about one of my "big" b-days. My friends and family wanted to celebrate my 40th birthday with a big bash, but I had a different treat in mind.
For years, I had studied writing course guides from MFA programs to the Iowa Writers Workshop to Chautauqua. Then I learned about the Highlights Foundation Whole Novel Workshop.

I would need to apply and submit samples of my work; they only accepted 8 students. I would need to leave my family for an entire week. And I would need to cough up a good chunk of change in a turbulent economy. It was time to take my writing craft to the next level. Happy birthday to me!

I received an email from Carolyn Coman (Carolyn Coman! The trifecta honoree of children's book awards- Newbery Honor, Printz Honor, and National Book Award finalist!). She informed me that I had been selected for the workshop, but she wanted to make sure I was prepared to take a leap of faith. She asked me to consider a complete "re-visioning" of my novel. Was this really what I wanted? Yes, it was time to take the leap.

Carolyn read my entire manuscript and sent me a four page, single -spaced critique letter a week before the workshop. I mulled over her comments, flew to Pennsylvania, and met my fellow students. Our marked-up manuscripts were returned to us after dinner, and we retired to our private cabins to pour through our stories.

Everyone used their time in different ways. Some were ready to hit their keyboards and dive into revisions. Others attempted storyboarding to work on their plots. I had plenty to think about, the re-visioning that Carolyn had recommended. I spent a few mornings exploring wooded hiking trails along a roaring river.

Every afternoon, we met for a group workshop - critiquing each others' manuscripts, followed by a discussion on various writing topics led by Carolyn, Donna Jo Napoli (Check out her many wonderful books!) or Monika Schroder. At that time, Monika was a librarian and MFA student who had previously attended the workshop. Just recently, her second published novel won a Crystal Kite Award from SCBWI.

Carolyn likes to storyboard during the revision process to help her look at sequencing and emphasis. She identifies what happens in each chapter (briefly, in one sentence) and names the dominant emotion. Then, she thinks backward from this emotional blueprint to fill in plot. What is the character's motivation, and what do you need to emphasize in each and every chapter?

Going beyond the usual "write what you know" advice, Donna Jo introduced the topic of autobiography and its place in your book. She recited a quote by Katherine Patterson, "Write what only you can write," and asked the group what this meant to us. Essentially, everyone has their own unique worldview that's shaped by our personal experiences over time, and this is what you bring to your writing. This was our most emotional discussion of the week, cutting to the core of each of us.

Did I mention these topic discussions were followed by appetizers and wine? Then we gathered around a large table on a screened-in porch for a family-style dinner, dessert, and conversation. The gourmet chef, Marcia, used locally grown, in-season produce to create delicious, healthy meals all week. She was happy to discuss her recipes, so not only did we learn from the writing pros, we received informal cooking lessons too.

Overall, it was a challenging and inspiring week in a beautiful setting with a talented group of writers. I couldn't have asked for a better birthday present.

Last week, I learned that my completely "re-visioned" novel won first place in the Fire and Ice contest through Chicago-North RWA. I'm finalizing revisions on another manuscript, and a new story is in progress. As I write, and rewrite, I hear Carolyn's voice. Who are you talking to?, she asks when my first-person narration turns self-conscious. Which line in this paragraph best illustrates what you want to emphasize? The heart, the motivation... Cut the rest.

Have you attended a writing workshop that required a leap of faith? That helped advance your writing to the next level? Please share!

READY, SET, GOAL!

Many years ago, when I decided to actively explore becoming a writer, I got ready by gathering all the information I could about writing books for children. Next, I set goals on how I would go about making my dream a reality.

For me, setting goals has been the most important part of the writing process. Unstructured and disorganized by nature, I knew that if I were to accomplish the ultimate goal of getting published that I would need accountability and a timeline from which I could measure success.

I needed clear goals, and I needed pressure, but I also needed rewards! In the early days, I set goals where if I wrote a certain amount of pages, I would reward myself with additional reading time, or a trip alone to the library.

I stepped it up a bit after I discovered contests in The Children’s Writers and Illustrators Market. Contests worked for me because they came with a list of strict guidelines including specific formats, word count, and last but not least: a deadline. Not to mention, they were great practice for getting ready for future submissions. Every time I sent off an entry, I’d treat myself to a trip to the bookstore to purchase a new book, or simply give myself the rest of the day off.

After I’d accomplished some contest success, I felt comfortable enough to move to the next level—conferences. Getting ready for a conference meant preparing myself with everything from elevator pitches, to feedback from one on one critiques, to meeting complete strangers and networking. The experience and knowledge gained at a conference were invaluable rewards.

Joining a critique group was next on the list. I was terrified at the thought of face-to-face critiques with people I’d never met, but it seemed all the successful writer interviews I’d ever read recommended joining a critique group. And since my goal was to become a successful writer, I stepped out of my comfort zone and signed up. Talk about deadlines and accountability--my group meets every two weeks and we push each other to not only submit material to each other, but also to contests, agents, editors, or whatever the case may be. The experience, sharing of information, and the friendships have been life-changing.

So, many years and goals later, I have met personal deadlines, graduated from the safety of anonymous contests to face to face pitches with agents and editors, endured the brutal honesty of a critique group, and as difficult as it was to let go and face the possibility of rejection, I sent my completed YA novel out to agents...

I’m overjoyed to report that seven weeks ago, I reached my goal of obtaining an agent!! My reward is huge—I’m going to the RWA Nationals in NYC and I get to meet with my agent in person!!

And after my agent approves my revisions and sends my manuscript out on submission, I plan on meeting my ultimate goal: getting published!!

…Then I’ll start all over with a whole new set of goals; )

Do you have any goal-setting tips you’d like to share?

Summer Fun!

What’s the next best thing to taking a summer vacation to an exotic locale?

Reading about someone who did, of course!

This week’s post is about one such book (and includes a little contest!)
The book is Maureen Johnson’s 13 Little Blue Envelopes. It features Ginny, who is off on an adventure orchestrated by her deceased non-conformist aunt. Using the instructions found in a series of 13 letters, Ginny travels throughout Europe, living in the moment, learning about her aunt, and falling a little bit in love along the way!

If you’d like to win a copy of this book, you must follow this blog (if you don’t already!) and post a comment by midnight (Eastern Time) Saturday, June 18. From those who comment, I’ll randomly select one person (U.S. entrants only) to mail the book to (sorry, no little blue envelope).

Here are some ideas for your comments inspired by Maureen’s book:

1. Ginny has a cool aunt—do you? What fun things have you done with your aunt?

When I was nine, my own aunt predicted I would someday live in Paris. Sure enough, I did. My aunt also showed up to take me on a wild European adventure (which included nearly being robbed by gypsies on a night train to Prague)

2. Ginny’s aunt used a theme to paint a whole café in Paris. If you had to paint a café, what theme would you use?

I’m going to have to go with elephants, myself.

3. Letters—ah, that lost art form! What letter are you glad you saved or what is one that you wish you had saved?

O.K., I admit I still have that first love letter. (Clears throat). And I got rid of a whole series of letters from my grandmother in which she told her life story.

4. What other Y.A. travel stories have you read and loved?

Be sure not to miss Anna and the French Kiss by Stephanie Perkins!

5. Yeah, sure, you can pick your own topic too!

Happy summer travels, whether real or imagined!

Storyboarding—it’s not just for moviemakers

I have amazing movies in my head. The scenes grow from subtle details like lighting and body language, to breathtaking action powered by strong emotion. Of course there’s snappy dialog, too, delivered with tone of voice and driven by deep internal motivation. I’m talking epic stuff, here. Big, good, funny.

Unfortunately, I don’t have a movie projector in my skull—I can’t point my head at a screen and charge theater prices for popcorn. I can’t even stick a USB cable in my ear and brain-dump my mental productions into MS Word. There is no app for Kurt’s psyche (consider yourself lucky). So... I write. I convert my omniscient writer/director dreams into two-dimensional, black and white text.

To help me translate detailed action sequences into text, I sometimes act out the scene, while narrating it aloud. With luck, I can describe the action in everyday words, and even remember them long enough to type them into my computer. But acting doesn’t work when I need to freeze a moment and see it from the outside. That’s when I borrow a trick from movie making, called storyboarding, and run it backwards.

When a movie director translates the written word of a screenplay into the lights and sound of a movie, he or she will often start by drawing pictures. These cartoon-like images, called a storyboard, show freeze-frame moments of action from the audience’s perspective. By studying the pictures, a film crew can figure out lights, cameras, marks, eye lines, and so on. Words become pictures, which become movies. All I do is reverse the process, going from pictures to words, except that...

I don’t draw well. My brother is the cartoonist in the family (shameless plug—you can see his work at www.theregularscomic.com. I’m the unseen brother in strip number 109, and no, you can’t have my Prada sneakers). Anyway, I don’t draw, so I use a camera. Most recently, I made a storyboard for a rewrite of a car chase. The scene is too dangerous to video, so I used still photos instead. In this scene—which is the modern equivalent of the stagecoach robbery in an old western—the absurdly macho Hammerfist hangs out the car door, brandishing his club.

Picture 1: Hero-wannabe Hammerfist prepares to hurl his club (I think he’s compensating) at an SUV full of ninjas.

Picture 2: The car drifts into a rut, tilting the car and dropping Hammerfist perilously close to the ground.

Picture 3: The car slides into an opposing rut, swinging the door closed. Crunch!

Not only do I have these images to study and translate into words, but I have also demonstrated that the actions are humanly possible—an important detail, because my top-notch critique group asked.

Storyboarding works for me, maybe it can work for you. Or maybe you have another trick of the trade. Let me know, and post a link if you’ve got an example on your website.
Kurt

Interview with Super Literary Agent, Kevan Lyon

Today, I am interviewing the fabulous Kevan Lyon of the Marsal Lyon Literary Agency, LLC. Kevan is not only my agent, but she is also the agent for several other members of our YA Fusion blog.

Hi Kevan! Thank you so much for taking the time to talk with us today.

What do you represent and what are you currently seeking?

I represent all types of women’s fiction, some non-fiction and young adult fiction. In the broad women’s fiction category I represent commercial women’s fiction both contemporary and historical, mystery and suspense, and all genres of romance. The only exception is I don’t do much in the Science Fiction or inspirational categories. I am always looking for fresh stories with a great voice that really draws the reader into the characters’ world and the story – both in women’s and young adult fiction. I am particularly looking to build my young adult author list as well as women’s commercial fiction.

How can our readers query you?

My preference is an email query with a brief description of your story and a bit about you – writing credentials, writing groups you are a member of, awards, etc.


The Romance Writers of America conference is quickly approaching and many writers will be preparing to meet agents such as yourself. Will you be attending and if so, will you be taking pitch appointments?

Yes, I will be there this year for the full week and I am scheduled for 2 hours of pitch appointments as well as a few panels at this point.


I'll admit, I've only pitched once in my life. I was so nervous that I walked the length of the hallway outside of the conference room at least a hundred times. Thankfully, my awesome friend entertained me by suggesting that I give a short finger puppet presentation of my story, Pushing The Limits. Solemn face, she added that I should draw red hair on one thumb to represent my character Echo and draw a cross tattoo on the other for Noah. She, of course, was joking, but she made me laugh which in turn helped ease the nerves.

You attend several conferences throughout the year and take pitch appointments. What advice can you give writers just as nervous as I was on pitch appointments?

I always try to put people at ease and just get them to tell me about their story – in the same way that they would tell a friend of theirs. We are listening to the pitch to get a sense of the story and if it might be something we are willing to read a sample of. I think most agents will err on the side of asking to see at least a sample of your story if it falls in an area that they represent. It is pretty rare that I tell someone their book doesn’t sound like it is right for me in a face to face setting, generally I will read sample pages. If someone really catches my attention with their pitch then I may read it sooner because I am excited about it, so it is important to practice and make sure you are prepared (and try not to read your pitch, but if you must that is o.k. with me too). Try to run through it with a friend or family member a few times to hopefully minimize the nerves. It is also important to make sure you are familiar with the person you are pitching too – make sure they represent the type of work you are pitching, that will definitely improve your chances of getting a sample page request! Then, realize the agent is there looking for prospective clients and wonderful new projects. They want to make a good impression on you as well – so try to relax and enjoy it!


What elements are you looking for in the perfect pitch?

I am first looking for a genre that I might be particularly interested in, and then I am hoping for a really compelling story hook – something that can be summed up in just a few sentences that immediately catches my attention. I usually am listening carefully to get a sense of the arc of the plot and whether or not it sounds like something I might like. I love that feeling when someone sits down with a story that I am intrigued by and can’t wait to read more!


Is there anything a writer should avoid during a pitch appointment?

Doing anything that doesn’t feel comfortable to you – i.e. don’t try to be memorable via costumes, or some other catchy idea – just be yourself. The pitch session is also about whether or not an agent and author believe that they can work together, sometimes in the short 5 or 10 minute pitch you can immediately tell that this is an individual you like talking to. So it is important to be yourself and for that few minutes you have with an agent make sure that you feel it is someone you could possibly work with.

A buzz word I heard while preparing for my first conference was the elevator pitch. Which for any of our readers not familiar, the elevator pitch is the 10 second version of your story. When at conferences, do you receive many elevator pitches?

Often in the hallways or public areas an author will approach me, and frankly it is often hard to really concentrate on what they are telling me, but occasionally it works, particularly if we are talking at a social event or other function. I don’t mind being approached usually, unless I am in the middle of another meeting – which has unfortunately happened, and then you really don’t have my full attention. It never hurts to be prepared for the quick pitch if we chat informally somewhere and I am generally open to listening.


What is the oddest thing that's ever happened at a conference?

Can’t think of anything odd….hmmmm. I can think of conferences where I was really excited to received someone’s work – and then we go on to sell it. Those become some of my more memorable conferences!

What is the thing you enjoy the most at a conference?

Finding a new project that I am particularly excited about – I will often think about it for days afterward, anxiously waiting to see the pages come through my email. I also really enjoy seeing my clients and meeting them in person whenever possible at conferences. Conferences have a way of getting me rejuvenated and reminding me of how much I love what I do.


In any of the genres you represent, do you see anything currently trending?

This is always hard to say – but I am sensing the market is tightening up on the acquisitions side with particular genres of romance at the moment – historical romances come to mind as something that feels ever more difficult lately. On the YA side, it feels like the market is fairly full when it comes to new dystopian type stories, something needs to be completely new to catch an editor’s attention. Now, that could change tomorrow, but that is my sense lately.

Thank you so much for talking to us, Kevan!

Now, for my readers. What are your thoughts at pitching at conferences? Do we have any success stories? Was anyone just as nervous as I was about pitching? Tell us about your conference experiences.

Organic—it’s not just for veggies anymore

A couple years ago, I was accepted to the C.I.A. Not the Central Intelligence Agency (how cool would that be!?), but the nom-nom one. The Culinary Institute of America. I grew up in a family of master chefs and food has always been one of my passions—but so has fiction. Even as I filled out the application, I was torn. Then, when I met with the counselor and she told me the main reason I was accepted was the essay I wrote, well, I saw that as a sign. I passed on the spot and threw myself into writing.

Obviously, I still love to cook. Just because I’ve chosen the author path, doesn’t mean I’ve forsaken my roots. Special occasions, holidays—apple season is like Applepiepocalypse around here. I have nightmares about being chased through the streets by an enormous peeler flanked by jars of cinnamon wearing gang colors.

This says a lot about how my mind works…

But anyway, every once in awhile, someone will ask me for a recipe. This is a problem. Why? Because I don’t follow recipes. And when I try to write ingredients down as I’m cooking, it leads to disaster.

I’ve come to realize my writing works the same way. Everyone has their own process. Something unique that works for them. Mine is, well, messy. Organic. Some of my more organized writer friends look at me like I’ve got two heads, a tail and am wearing a pair of flashing neon chaps. But for me, it works.

Matter of fact, it’s the only thing that works.

I’ve tried to do it the other way. Outlines and character bio sheets. Research and plotting. All that planning ahead trips me up. I think it’s because I’m putting too much thought into it. Instead of just going with my muse and letting the story and characters (or recipe) take shape, I’m obsessing over the details. Did I get the voice right? Is that really enough sugar?

I think of the first draft as the ingredient gathering stage. Start with a concept (dish) and build from there. For me, it’s usually the hook that pops first. Sprinkle in some world building and a kick ass character or two, and you’re ready to rock.

Once you’ve got everything together, you move on to the revisions (cooking). Revisions are kind of like making Risotto. If you over toast the rice (story) the outcome is going to be less flavorable. Going through and adding layer by layer to your story is like adding the broth to the rice as it cooks. Slowly absorbing flavor.

Then, when you think it might be time to yank that puppy from the burner, you need to do a taste test. This is where betas and CPs come in. You send your work out, they sample it and tell you what it needs and if they think you’ve overcooked anything. Luckily, with writing it’s much easier to fix an over written scene than a burned batch of biscotti and an oven fire.

Yeah… Um, that’s a totally different post.

So come out and share your process. Do you follow an outline? Maybe you just jot down a few notes and see where they go. Or are you like me? Throw things into the pot and let the chips—chocolate preferably—fall where they may.