Tips for Writers: What to do When Your Camel Does THIS

Let’s set the scene. I’m on a press trip in Israel, at a Bedouin camp, waiting my turn to ride a camel, when the so-called “ship of the desert” in front of me does THIS.

He kneels unexpectedly, and my friends start to slide off his back. For a second everybody panics (except the Bedouin camel owner, who already got paid for this).

Contrary to what many aspiring writers think, this is typical of the freelance writing life. Yes, sometimes we get to go on fantastic press trips. We get paid–can you believe it?– for seeing another part of the world, meeting new people, and experiencing new things. Hey, we know how lucky we are.

But what others don’t know is how often a camel takes a knee.

One of my big camels–that is, one of my best clients–is about to go down, and that means my income is slipping, just like my buddies on the press trip. I’m going to have to do what I’ve done many times before: I’ve gotta round up some new camels.

New writers don’t always realize that freelancing is as much about marketing as about writing. You constantly have to look for new outlets for your work. Putting all your eggs in one basket, no matter how big, is dangerous if things change. And believe me, they will. Editors leave. Publications fold. Budgets get cut and so do contractors and freelancers.

Right now, I’m searching the horizon for new opportunities. But it’s okay. I’ve had to do this before and I’m sure I’ll have to do it again. I’m not panicking. (Much.)

Whatever you’re doing–writing, parenting, selling shoes or painting houses–don’t despair when your camel goes down. Just look for the next oasis. They’re always out there, and that’s where you’ll find the camels.

 

 

Planning Your Novel With Janice Hardy

I’m excited to share a post today from guest blogger Janice Hardy, author of the teen fantasy fiction trilogy, The Healing Wars. She’s also the founder of Fiction University, a writing instructor and a popular speaker at conferences and workshops. Janice, thanks so much for sharing this excerpt from your new book, Planning Your Novel: Ideas and Structure.

Author Janice Hardy

Is Your Novel Character-Driven or Plot-Driven? 

By Janice Hardy, @Janice_Hardy

Writers (and novels) typically fall into one of two camps: character driven or plot driven, If you’re the kind of writer who comes up with characters first and figures out the plot as you write, then you might find it frustrating to try to work out a plot first. Just like a plot-driven writer might find it difficult to develop the characters first. Knowing which you are makes going forward much easier.

If your idea (or writing style) leans more toward one side than the other, don’t worry. Writing is a process, not a fill-in-the-blanks, one-size-fits-all template.

Are You Character-Driven?

Character driven means the focus is more on the character and her internal journey than the external issues of the plot. This doesn’t mean plot isn’t important, but the issues the character deals with are personal and often affect only that person or the people closest to her.

The main point of the novel is to show character growth and have the protagonist learn a valuable lesson about herself that allows her to be a better person (or points out a fatal flaw that causes her doom in a darker tale. Not every novel has to have a happy ending.)

Character-driven ideas typically manifest as a character with a problem first. This person has an issue that is central to the story and the journey to understand that issue is at the heart of the conflict. What that character is going to do isn’t always clear at first, because the journey and the emotional story arc is what matters more.

For example:

  • A woman with a fear of commitment must learn to let others in.
  • A selfish boy must learn to think about others.
  • A workaholic must learn to take time for family.

 

How this works with a plot: These problems are all internal, even though they likely have external problems due to these issues. A fear of commitment might translate to being alone and unhappy, selfishness could lead to having no friends, and working all the time often ends in divorce.

But the end goal isn’t as simple as “find someone to marry” or “make a friend” or “quit a job.” Those goals won’t solve the underlying problem until the character goes through her emotional journey. There will be goals and problems that allow the protagonist to grow and learn what she needs to learn to achieve a specific goal, and that’s where the focus lies.

 

Key Elements of a Character-Driven Novel

  • The protagonist is responsible for what happens to her and acts to make the novel happen.
  • Internal forces affect the protagonist.
  • Personal growth and emotional change of the protagonist are major parts of the resolution of the novel.

 

Are You Plot-Driven?

Plot-driven means the focus is more on the external elements forcing the characters to act than on the personal journey. The stakes are frequently higher and matter more on a larger scale. This doesn’t mean the characters are unimportant, but solving the problem is more important than character growth or lessons learned, though characters can grow and learn even in plot-driven novels.

Plot-driven ideas typically manifest as a situation or problem first. An interesting situation has occurred and someone is going to have to deal with it. Who that someone is might not matter at first, because resolving the problem is what matters more.

For example:

  • Terrorists are planning to blow up the Golden Gate Bridge
  • A plane goes down in the wilderness and a survivor has to make it to safety
  • A protest at a factory turns into a riot

 

How this works with characters: These problems are all external, even though each will focus around a character who will likely have personal issues to deal with as she resolves her problem. Stopping terrorists entails personal risk, survival in the wilderness draws on untapped strength or knowledge, dealing with a riot requires commitment and diplomacy.

But the end goal isn’t “face your fears to stop a terrorist” or “find your inner strength” or “redeem yourself for a terrible mistake.” The novel won’t be about the growth or lessons learned, even though the protagonist will likely change a little over the course of the novel as she resolves the external problem.

 

Key Elements of a Plot-Driven Novel

External forces trigger the plot and cause the protagonist to act by reacting to that event.

Resolving the external problem matters more than a personal change in the character.

 

Are You Both?

It is possible to have both—a strong protagonist with a compelling emotional journey who is put into an interesting situation that needs to be resolved. Through resolving the plot problem, the emotional journey of the protagonist is experienced and achieved.

This is a powerful combination and it’s not a bad thing to aim for with every novel. But don’t worry if your idea leans more to one side than the other at this stage. You’ll have plenty of time to develop both sides—character and plot—if you want to do both.

For example:

  • An FBI agent faces his own seditious past while trying to prevent a terrorist attack.
  • A timid girl discovers her own inner strengths when her plane crashes in the wilderness.
  • A workaholic realizes the value of family when a protest at work turns into a riot.

 

How this works with both: These all have external problems that are made more difficult by internal issues. Stopping a terrorist exposes a dark secret, survival in the wilderness triggers a realization of personal strength, a protest turns deadly and reveals what matters most. The external end goal is the catalyst that forces the protagonist to change internally. The novel is about the growth and lessons learned as the protagonist resolves the external problem. The two sides work in tandem to craft a plot arc and a character arc that depend on each other.

 

Key Elements of a Plot- and Character-Driven Novel

  • External forces trigger the plot and affect the protagonist in a personal way that forces her to act.
  • The protagonist can’t avoid the external problem because it would have serious repercussions on an internal issue.
  • Resolving the external problem is what will allow the protagonist to resolve her internal issue.

 

Books don’t have to be fully plot driven or fully character driven. These are just terms for common writing styles that can help you figure out how to approach writing a novel. Don’t feel you have to be one or the other or your novel won’t work, but if you do know you think a certain way (plots first or characters first), that can be an asset in the planning process.

*Excerpted from my book, Planning Your Novel: Ideas and Structure

Where do you fall on the character vs. plot scale?

Win a 10-Page Critique From Janice Hardy

Three Books. Three Months. Three Chances to Win.

To celebrate the release of my newest writing books, I’m going on a three-month blog tour–and each month, one lucky winner will receive a 10-page critique from me.

It’s easy to enter. Simply visit leave a comment and enter the drawing via Rafflecopter. One entry per blog, but you can enter on every stop on the tour. At the end of each month, I’ll randomly choose a winner.

a Rafflecopter giveaway

Looking for tips on writing your novel? Check out my book Planning Your Novel: Ideas and Structure, a series of self-guided workshops that help you turn your idea into a novel, and the just-released companion guide, the Planning Your Novel Workbook.

Free Workshop for Children’s Writers

Come join us! The Society of Children’s Book Writers & Illustrators (SCBWI) is sponsoring our FREE program in the Atlanta area. We’ll talk about writing, answer your questions, and share tips and ideas. Refreshments will be served.

WHAT: The Ups and Downs of Writing Children’s Books: 
A Workshop For Children’s Authors (And Everyone Else)


WHEN: Dec. 12, 2015, 1 to 3 p.m.


WHERE: Stonecrest Library, 3123 Klondike Rd, Lithonia, GA 30038 
Phone: (770) 482-3828

WORKSHOP SPEAKERS: Connie Fleming, Nancy Craddock, Lynn Coulter and TK Read

SPEAKER/TOPIC: Connie Fleming: Walking on the Edge: Conflict in Children’s Writing

ABOUT CONNIE:
 A former UCR Crime Analyst with Georgia Bureau of Investigation, Connie now spends her days and nights writing, illustrating, and speaking at schools, libraries and churches. Into every life must come some conflict, and no story is complete without it. Learn how to insert the right amount of tension to move your story forward.

As a very health-conscious senior adult she also writes about wiping out obesity, with a healthy dose of her own brand of humor and Christian wisdom.
Her website is Connie Fleming and her weight-loss blog can be found at The Acceptable Sin.

SPEAKER/TOPIC: Nancy Craddock: Warnings from a Self-Pubbed Author
 If you’re thinking about self-publishing, you can save yourself a lot of angst (and money) from someone who did it all wrong!

ABOUT NANCY: 
Feeling as if she’s always been peering over the top of an open book, Nancy is a keen observer of life. Each chapter of her own life has been centered around books, schools and libraries. As a child, Nancy’s happiest days were either playing “school” or “library” with a neighborhood friend. As an adult, she’s diligently worked to foster a life-long love of books in elementary students from Baton Rouge, LA and Houston, TX, to Atlanta, GA.

Whether her students were a diverse group in a inner-city school, wealthy children of cattle barons or the sons and daughters of hard-working middle class parents in the suburbs, Nancy learned that shared laughter is always a unifying factor in any classroom and a humorous children’s book was never far from her reach.
Writing contests, magazine articles and hand-written notes, emails and long distant phone calls from editors will always be a thrill but Nancy is quick to say that she gauges her success by timid youngsters who’s whose eyes barely meet hers when they say “I like your book” at various book events. That is all the proof she needs to know her life has been, and continues to be, the most fabulous fairy tale she could ever imagine. Her website is Nancy Craddock.

SPEAKER/TOPIC: Lynn Coulter: Make Money By Writing Nonfiction

Even if your goal is to publish a novel, you can earn money writing nonfiction books and articles while you work on it. The Web, for example, consumes enormous amounts of information, and someone has to write that content. Why shouldn’t it be you? Learn how to break into print and digital publications for children and adults with freelancer and author Lynn Coulter.

ABOUT LYNN: 
Lynn Coulter writes for HGTVGardens.com. She’s also a freelancer with a B.A. in Journalism and the author of 3 books: Gardening with Heirloom Seeds; Mustard Seeds (Publisher’s Weekly starred review); and Little Mercies. Lynn has served as a contributing editor for Delta Sky and U.S. Airways Magazines, and she’s written for Ranger Rick, Southern Living, Jack and Jill, Delta’s Sky 4 Kids, Pockets, The Home Depot Garden Club, Southern Living, AAA Traveler and other publications. Currently she’s writing a novel for middle-grade readers with the help of her loyal office assistants/rescue dogs, Miss Paws and Molly. This is her website.

SPEAKER/TOPIC: TK Read: Light Fires Beneath Your Book Sales

Whether you’re self-pubbed, indie-pubbed, or traditionally pubbed, you need to market your book to make sure your sales soar! Learn promotion tips and tricks, and the best place to put your marketing efforts and dollars from TK. We’ll go over promotion ideas for small, medium, and large budgets!

ABOUT TK:
 TK is an attorney by day and a writer in the wee hours of the morning. She downs coffee and chocolate, and pens young adult thrillers and middle grade fantasies. A life-long student, she also signs up for every class she can fit in her schedule – that way when her teens are going on-and-on about their tough courses, she can match them moan-for-moan. TK co-authored the book, 100 Small Fires to Make Your Book Sales Blaze! with her marketing whiz sister, Kathleen Vrona. Visit TK at TKRead.
**THIS EVENT IS SPONSORED BY THE SOCIETY OF CHILDREN’S BOOK WRITERS AND ILLUSTRATORS (SCBWI.ORG)

Making Quilts, Writing Books

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Now I see why so many people get hooked on quilting. It’s all those fantastic fabrics, with their beautiful colors and designs.

Right now, I’m working on a picnic blanket quilt that uses the Bugapalooza fabrics designed by Jennifer Jangles. I may back it with a waterproof material, since this will be used on the ground, or maybe a heavy twill or canvas, as Jennifer (whose real name is Jennier Heynen) suggests. You can find her instructions for making your own picnic blanket here.

After putting words together all day for the middle grade novel I’m writing, Whistling for Elephants, piecing a few cloth squares is a welcome break. My eyes are hungry for colors beyond the black and white of the printed page, and for patterns that aren’t just blocks of text on a computer screen.

But even while I’m quilting, my brain is churning with plot ideas, and I’m trying to think up new descriptions and snappy dialogue to make my characters come alive.

Writing for children isn’t easy. You’ve got to remember what it’s like to play and forget the distractions of being a grown-up. This week, my distractions have included paying for a new car transmission, learning to cook for someone on a very restricted diet, cleaning the house, walking the dogs (who shed so much in the summertime heat, they double my housework), and–well, you get the idea.

A few weeks ago, my agent asked me to write a new outline for my book, to help me double its length and dive deeper into the story, and I’ve just finished it. Now I’m waiting for his comments before I start writing again. This agent has a strong editorial background, and I’m grateful for his guidance.

To be honest, I wish the writing work was done, but there’s more ahead before my manuscript is ready to submit to publishers.

Sometimes I get discouraged, because I’ve worked on this book for so long. In some ways, writing is like making a quilt. You make a block for your quilt; you scribble a paragraph for your book. Next you join the blocks into rows, and the paragraphs into chapters. Eventually, you stand back and look at what you’ve got and decide whether you need to add more here or take away something there.

When you finally see the pattern you’re aiming for, and it pleases your eye and heart, you know your work is finished.

Go Play. Seriously.

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Here it is: your permission to take a day off.

Stay in your pjs and binge-watch Game of Thrones or make chocolate cookies and eat two (at least).  Finish a book, or start one. Walk the dog or take a nap, ride a bike or shop for new shoes. Set the table with a fancy cloth and candlesticks, plant petunias in the yard, or practice your putting.

Yeah, I know. Who am I to say it’s okay to play instead of work?

Think of it this way: I’m not really the one giving you permission. YOU have to do that.

But if you have trouble letting go of whatever you normally do from 9 to 5, I’m here to cheer you on, because I have the same problem.

Yet we’ve gotta play sometimes. Too much work doesn’t light any sparks under your writing. In fact, fatigue and stress and pressure throw a bucket of cold water on inspiration, and it melts away, Wicked Witch-like, and disappears.

Right now, I’m in a good spot. I’ve got work to do, but I’m ahead of schedule, so I took a play date.  I spent a few hours sewing, and I made the little cupcake pincushion you see here. It’s based on this one, created by Vanessa Goertzen, a quilter and fabric designer who blogs at Lella Boutique.

(Unfortunately, no one replied when I wrote to ask if there was a pattern, so I improvised. I used cardboard for the base and a fabric cylinder for the body. Pink rickrack trim and felt flowers stand in for icing and decorations.)

It’s not perfect; actually it’s kinda lopsided, like most of my real cakes. But I loved the fabric colors (it’s Moda’s Into the Woods), and I had fun making it.

I admit, most of the time, I feel guilty about playing, as if the only good day, the only valuable day, is one that results in a paycheck.

But that’s soooo not true. I’m learning that if you want to live a creative life, you have to let yourself off the hook sometimes. Making a pie or making a pincushion, stringing beads or baking bread are all worthy pursuits that can re-fuel your spirit and help you become more productive in the long run.

 

 

Author Meg Medina’s Writing Prompts

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Latina author Meg Medina had some of the audience at the recent Atlanta SCBWI conference in tears. The waterworks started when she gave us prompts to create characters for our children’s stories.

Tuck a tissue in your pocket and try one of these. Just be really, really honest, because, as Meg said, because growing up is tough, and writers need to tell the truth.

Ready? Finish this sentence: “I come from….”

To get you started, I’ll tell you where I come from. “I come from dirt-poor grandparents who lived in Alabama and dropped out of school around the fifth grade to help farm the family land. I come from a father who was the first person in his family to graduate from college (he could afford it only because of the GI Bill).”

Here’s another prompt:  “And so, we meet again…’

One woman in our group completed that one with a paragraph about a man who sped through her neighborhood every night on his way home from work. While he barreled past little kids and startled dogs and stroller-pushing moms, he blasted his horn, non-stop. Then he’d screech to a stop in his carport, stomp inside, and slam the door behind him. She said everybody called him “The Blower.” While you wouldn’t make an adult the focus of a kids’ book, wouldn’t this guy make a fascinating character?

One more. Write your autobiography in just six words. When we did this exercise, many of the writers in the room came up with lovely, even lyrical lines.

Not me. I remembered a tough patch I’d gone through a few years ago, and I decided to look into my own darkness. My six words were, “Her broken pieces are still holding.”

Once I showed some vulnerability, others did, too. More than a few of us had damp eyes by the end of Meg’s talk, which was a good thing, because it meant we were digging deep into our personal truths.

Whether you’re writing about sunny times or desperate ones, Meg says we’re still every age we ever were. The preschooler, the adolescent, the young adult: they’re all still alive in our heads and hearts. Use her prompts to nudge or jolt your memories. Reach deep inside to find emotional connections that will grab your readers.

 

 

 

Writing Characters for Your Novel

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What a character.

We say that a lot here in the South, usually when we’re shaking our heads over some strange comment or behavior.

Right now, I’m faced with expanding some characters I’ve already written about. The agent who’s agreed to represent my middle grade novel wants another (let me pause here to take a deep breath) 10,000 words.

My entire manuscript is 25K, so he’s asking me to write the equivalent of another half a book.

That’s okay (even though it sounds daunting), because he tells me there’s a better chance of selling my story if it’s closer to the length of most mid-grade books. And besides, he’s not asking for a lot of new scenes or action; he just wants me to give the characters more time on stage.

So—how do you beef up your characters, and make them feel alive for your readers?

One way is by turning real life into art. Start by observing people around you.

Here’s an example. One Sunday afternoon, I noticed a striking woman in the grocery store. She wore a simple, black dress that fell to her calves, and her long, straight hair–which was also black– reached almost to her waist. She was pushing a buggy in the cereal aisle, checking out the Fruit Loops, when I noticed she had a pair of fuzzy, black bedroom scuffs on her feet.

She was probably in her 50s.

Until I got to the part about her slippers and age, you might have pictured her as a Goth.

But those shoes told me a lot. I know how it feels to wear high heels all day, and since it was lunchtime, I thought she’d probably just come from church. She may have stopped to pick up a few things and changed into scuffs because her feet hurt.

Maybe they hurt because she wears heels everyday to an office. Or maybe she’s not used to heels at all, and only wears them on Sundays.

Her black dress and long, unstyled hair also made me think she might attend a fundamentalist church.

It doesn’t really matter, because I’m writing fiction, and I can use details like those to flesh out my characters. You can, too; all you need is a good memory, or a pen and paper to jot down ideas for later.

Later I’ll share some prompts for writing memorable characters that I learned at a workshop given by award-winning Latina author Meg Medina. Stay tuned.

How to Get a Literary Agent

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How do you get an agent for your children’s book? Well, first you need an elephant…

Okay, I’m kidding about that part. But Bob, the elephant you see above, has become the mascot for my middle grade novel, Whistling for Elephants.

I found Bob at the SCBWI SpringMingle, a conference for children’s writers and illustrators that’s held each year in Atlanta. He’s made by the talented Michelle Nelson-Schmidt, who also wrote a book about him.

Bob thinks he’s a unicorn, although his friends don’t see that at all. Then he finds someone who believes in him. Check out the trailer for Michelle’s picture book here on YouTube: Bob Is A Unicorn.

Landing an agent is a lot like finding someone who sees past your elephant-ness into your glittery, magical unicorn-ness. Agents share your dreams for the manuscript you’ve written, and believe it can be more than just a stack of paper. Like you, they see it as a published book children will love to read.

I’m excited that I’ve just received an offer of representation from Dystel & Goderich Literary Management. My agent loves middle grade fiction, and he’s encouraging me to get my story up to around 35,000 words (it’s about 26K now). Once I’ve given my characters a little more time on stage, so to speak, he’ll start circulating it to publishers. I feel so fortunate to have someone with his knowledge and experience in my corner.

So here’s what I learned, as I set out to find an agent:

1. Do your research. I used the SCBWI online catalog of children’s book publishers (you must join SCBWI to access it, but the membership fee is very reasonable, and there are lots of other benefits). Once you find an agency that’s open to the kind of work you’re doing, visit the agency’s site. Read about the agents who work there, and pay attention to what they’re looking for. You’re wasting your time to submit a Y/A novel to someone who only wants picture books. You may also want to Google the agent’s name, to find the books and authors he or she currently represents.

2. When you write your query letter, make sure the agent’s name is spelled correctly. Misspellings are a real turn-off, and suggest you’re a careless or sloppy writer.

3. Personalize your query, if you can. Don’t go overboard; you want to present yourself in a professional and businesslike way. But if the agent mentions he likes a certain book because of its strong voice or sense of place, and you like that, too,  mention it. Just be genuine. If you don’t share his enthusiasm, don’t fake it. But little touches like that can show you’ve done your homework and you’re really trying to find a great match between what you can offer, and what the agent can represent with real heart.

4. Add a brief and pertinent bio to your query. If you’ve published in the kids’ field or you’re a much-requested storyteller at your  library or school, lead with that info. Not published? Mention writing courses you’ve taken, to show you’re studying and practicing your craft. Agents like to find writers who are SCBWI members, because that means you really care about children’s literature.

5. Follow the directions on the agency’s website and send only what is requested. If they want sample chapters pasted into your email, don’t send an attachment (most won’t open them). If they ask for 5 pages, there’s no need to send 15; it’s risky to annoy the person who’s reading.

6. Be patient. If the agency says their typical reply time is 2 months, don’t nudge them before then. When the time is up, it’s okay to send a short, respectful note asking if they need more time to consider your submission.

7. Keep writing. Keep writing. Keep writing. Continue to read, study, and perfect your work. Consider joining a critique group; your family probably loves everything you’ve written, but that’s because they love you. And having a supportive team behind you is great. But you also need unbiased readers, so you can discover what’s working, and what needs improving.

It feels magical when you finally connect with a great agent. Good luck on finding one who sees your inner unicorn!

 

 

 

 

 

 

 

 

 

The Ouch Chronicles

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Is it about the destination or the journey? You have to decide.

Ouch, ouch, ouch…there are lots of popped-out nails and splintered planks on the path to publication.

Although I’ve written 3 books for adults, now I’m trying to find an agent or editor for my first middle grade novel, Whistling for Elephants.

I’ve gotta admit, I was downright blessed with those other books. The first one, Gardening with Heirloom Seeds, happened because an editor from a small publishing house saw an article I’d written for an in-flight magazine (Delta Air Lines Sky). She contacted me and asked for a proposal. I sent it, but ultimately, it was turned down.

Well, I figured, I’d written an outline, market analysis, sample chapters, and so forth, and I didn’t want to waste the work, so I sent my proposal elsewhere. My second try, at UNC Press, was accepted, and the book came out about 18 months later. (In case you don’t know, yes, it really can take years to get a book to print).

Then I wrote an essay about my spiritual journey, also for Delta Sky, and it happened again. An editor saw the essay and contacted me. (See a pattern here? Getting published in an in-flight magazine is amazing exposure. Literally millions of people read them each month.) I wound writing Mustard Seeds for B&H Books, and even got a contract for a follow-up, Little Mercies.

I’d always loved kids’ books, so next I tried writing one. But lots of life-stuff started happening, so I kept shoving the manuscript to the back burner, until this month, when I finally finished it and began circulating it.

I’m discovering that few publishers take unsolicited, or so-called “over the transom” manuscripts anymore. They’re so inundated with submissions, they’ve stopped reading new work unless it’s represented by an agent.

Unfortunately, it can be as hard to get an agent as it is to find a publisher. It seems almost everybody wants to write, but few stories see the light of (published) day, unless the writer really works hard to learn and practice her craft.

So here what I’ve decided: I’m going to share my path toward publishing a children’s book here, and on Twitter and Facebook and LinkedIn.

And here’s why: I’ve told friends that I’ve already gotten a couple of rejection letters (which is not a sign of failure, I’m learning; award-winning children’s author Kate DiCamillo got an overwhelming 470-some rejections before she sold her first book, which went on to become a best-seller and a TV movie. Read her interview with PBS here).

As I share my own turn-downs, I’m reminded about what really matters. Writing feels like a calling, and doing what you love matters more than what you may or may not get in the end (a contract and money).

I often debate how much to share. I mean, if I let down the public mask that most of us wear, do I look like a loser? Well, sometimes I am, but that’s okay. That’s what it means to be human, right? I am what I am, and what I am is — a work in progress.

So please check back with me to see what’s happening on my journey toward publication. I’ll share what I’m learning, in hopes it’ll help other aspiring writers. And if nothing else, those of us who feel called to write won’t feel alone.

 

 

How to Make a Zine

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my first zine

If you’re looking for great art, you’d better stop here.

But this isn’t about creating a masterpiece. It’s about making a zine.

First: what’s a zine? It’s a small, self-published–or in this case, handmade–magazine. I learned about them at the 2015 SCBWI Southern Breeze Springmingle, a conference for children’s book writers and illustrators. I made my first zine there, thanks to inspiration (and instructions) from award-winning Latina author Meg Medina.

Tools to make a zine: old magazines, scissors, a glue stick, and paper

Meg showed us how to fold a sheet of legal-sized paper into a small booklet with 4 pages. Since each page has 2 sides, that gave us 8 surfaces to work with. We cut pictures and text out of old magazines and glued them into our zines, supplementing them with stickers, stampers, and other odds and ends.

The goal was to create a sort of storyboard for whatever we were writing. The images and words didn’t have to mean anything to anyone else; we just picked out what spoke to us, jogged our imaginations, or sparked our creativity.

remember to give your zine a back cover

Mine isn’t perfect (perfect’s not the goal). I got carried away and used images for several different manuscripts I’m either actively working on or just starting to outline. But that’s okay. I can flip back through it for ideas when I need them. Next time, though, I’ll make just one zine per story, to help me stay focused on the plotlines and imagery I want to use.

If you’re having trouble getting started, or you’re stuck with writer’s block, try a zine. It might kick loose your next great idea.