Finding Focus: Tips For Writers, Plus A Print-Ready "A Gift Of Time" Certificate For Writing Parents

One of the many things I've learned over the past few years is the importance of focus. I can get far more accomplished in one solid hour of uninterrupted time than I can in five hours of constant interruptions. I believe this even more of a challenge to writers (and illustrators!) these days than ten years ago, mainly because of the Internet.

Ten years ago, it took longer to get rejection letters for our work because they usually came by snailmail. While this could be frustrating, it also gave us more time to work on a new project while we waited to hear back from an editor. Now...

For many of us, email is another potential source of constant interruption. I don't know about the rest of you, but I used to feel compelled (yes, COMPELLED) to check email constantly, just in case something Important came in that needed an immediate response.

There are many problems with this strategy, and one is that others start expecting you to do this and get antsy if you don't respond right away. Which makes you feel that you need to respond because you know that they know that you know...well, you get the idea. The obvious solution: Don't check email so often. But if you're like me, that's easier said than done. What if it's my agent with a book offer? Or my editor or art director with the feedback I've been waiting for?

My solution: I've started using AwayFind, a service where you can get an alert message when you get emails from certain addresses or with subject headings containing particular words or phrases, avoid getting alerted for group mails and much more. There's a free trial version, but I've signed up for the monthly Pro account and am very happy with it so far; I'm checking email FAR less often.

Another tip: don't answer phone calls when you're in workmode. I figure if it's important, they'll leave a message or send an email. 

However, I know this just isn't possible sometimes, especially for parents with young children. Here's a print-ready gift certificate (click image or here for the PDF) that you can use as a gift for a writing parent, or hint strongly to your loved ones that YOU'D like this as a gift:

Happy writing all, and good luck on finding your focus in the coming year.

- Debbie

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Debbie Ridpath Ohi is the illustrator of I'M BORED, a picture book written by Michael Ian Black, published by Simon & Schuster Books For Young Readers, chosen as a New York Times Notable Children's BOok.

Debbie blogs about writing and illustrating for young people at Inkygirl.com. On Twitter: @inkyelbows.

Congrats to Carmella on her TO THE STARS! picture book deal with Charlesbridge

We at MiG Writers are soooo excited for Carmella on the sale of her first picture book! From the announcement in the Dec. 2nd Publishers Marketplace:

Carmella Van Vleet and astronaut Kathy Sullivan's TO THE STARS!, the inspiring story of Kathy Sullivan, a little girl curious about science and the world who grew up to become the first American woman to walk in space, to Karen Boss at Charlesbridge, by Marie Lamba at the Jennifer DeChiara Literary Agency (World).

Congrats from MiG Writers to both Carmella and her agent, Marie Lamba of Jennifer DeChiara Literary.

Up For The Challenge

I’ve been working on my first young adult novel for the last three years. It’s been a huge personal and creative challenge and there’s been many times I’ve wondered why I’m doing this to myself. Yesterday, I was reminded.

Because it’s fun and because the teacher invited me, I went to visit a local high school’s creative writing class. I’ve been in a few times this semester, talking about various things. This time, I was sharing a couple of chapters from my work-in-progress so kids can see that revision is a natural part of the writing progress. I told them to go ahead and rip my work apart, I have thick skin. “This is how I’ll get my very best work,” I told them.

The kids took their job seriously. They had spot-on and insightful comments. But one student kept raising his hand and demanding an explanation. My story’s topic is a tough one: a girl’s older brother is kicked out of the house for being gay.  The student couldn’t wrap his brain around the idea that if a parent and child had an otherwise good relationship that Mom would kick him out for this one “flaw.” (His word, not mine.) I tried my best to explain that the world isn’t always the way we wish it to be. He wasn’t buying it.*

But then, from across the room, another student defended the idea. “It happens more than you think,” he said.** 

When the bell rang, this second boy hung back to talk to me and the teacher. He shared with us that when he came out as bisexual to his strict and religious parents that his dad didn’t speak to him for a week. He told us that his parents still don’t accept this part of him and that he’s lost friends and family members because of his orientation. He seemed okay with all of this, or at least resigned in the way many LGBT kids are. I told him I’m the mother of a gay child and asked him to give his parents some time to come around. “They’re on their own journey, too,” I said and hoped it was true.  

This kid - and all the other LGBT kids and their siblings - these are the people I’m writing for. And they are the reason I’m working so hard to get this book right. I’m honored to be a part of their story. It’s a huge responsibility and I going to work my butt off to make sure I’m worthy.

Now. If you’ll excuse me, I have a book to revise.

~Carmella

*I actually kind of loved that this young man couldn’t imagine being disowned by his parents for being gay. Wouldn’t it be wonderful if no one could? 

** When I was going through what the kids had written me, I found a note from a girl telling me that her cousin had also kicked out her daughter for being gay.  

Developing an Idea (Or, I Have a Shiny New Idea, Now What?)

Since November is National Novel Writing Month, we thought we'd talk a little about how to get from that first bright and shiny spark to a fully developed story.

Carmella says:

After I decide on an idea, one of the first things I do is get a journal for the project. Then I start filling it with questions. By asking questions (for instance, what is my main character's goal? Or what would happen if x happened?), my brain starts processing. It's kind of like that journal in "Harry Potter and the Chamber of Secrets" - only I ask questions and the story answers back! Once I have a good grip on the basics, I start working on an outline. I used to be a pantser but I've found that developing an outline really helps me keep my emotions (um, panic) in check. An outline is like my safety net. Early on, I also spent a lot of time talking about the new idea to trusted friends and my family. I call this "processing outward" but I think my family and friends just call it annoying!

Carmella Van Vleet writes MG fiction and "hands-on" non-fiction. Her debut MG novel, ELISA BING IS (NOT) A BIG FAT QUITTER, will be released in Spring 2014 from Holiday House.

Christina says:
 

What I do after I've decided on an idea:

1. Outline it. See this post: http://christinafarley.com/using-a-plot-grid/ or this video: http://www.youtube.com/watch?v=CEjC3ri7UEo

2. Then I prep to fast draft the book. See this video for tips: http://www.youtube.com/watch?v=3chpYaMLYxg&feature=c4-overview-vl&list=PLz2lJRGe6_9CWREAtp8JD5s4xiEam-cDC

3. Write like a crazy person. I don't check for grammar or even if it makes sense. I just write.

4. Once I finish the book, then the real work begins. REVISING!

Christina Farley is the author of the YA novel GILDED, which will be published by Skyscape in Spring 2014.

Kate says:

When I get a new idea, I write down everything I think I know about it. The characters, the setting, etc. Then I figure out what I have to start researching. While I'm doing some general reading on the subject I want to write about, the characters are usually begging me to start writing. So I'll write a chapter or two and then get stuck and come up with an outline. For my newest project, I've been using Save the Cat type beats. Armed with an outline and some background information, it's time to get serious!  

Kate Fall writes middle grade and young adult fiction and is an editor with Entangled Publishing. 

Andrea says:

Once I decide on my idea, I make a list of all the things that could happen in the story. Sometimes, I write to myself as my main character, describing her problems and what she wants. I don't usually use these ramblings in the story, but they help shape my thinking about where the story might go.

After I've done some thinking (and then lots more thinking), I try to fit my ideas into a plot framework, like the Save the Cat structure or Dan Wells' Seven Point Story Structure. And then I write up a one or two page summary of the story, just to give myself some direction. By then, I'm usually dying to get writing, so I do! All my plans change as I get further into the story and find out what it's really about.

Andrea Mack writes middle grade fiction, picture books and beginning readers.

Debbie says:

What I do after I've decided on an idea:

1. Decide on the idea
2. Shortly thereafter, realize the idea is terrible.
3. Attempt to come up with alternate ideas but then come back to the original idea.
4. Work on a rough outline.
5. Despair when I realize the ending is wimpy and clichéd and sucky.
6. Revise the ending until it's not quite as wimpy and clichéd and sucky. Resolve to make it stronger later but first, I actually need to start WRITING.

Debbie Ridpath Ohi illustrated I'M BORED, a picture book written by Michael Ian Black (Simon & Schuster BFYR). Her illustrations next appear in NAKED! by the same author, coming out from Simon & Schuster next May.

It's National Writing Month!

Starting Nov. 1^st, it’s National Writing Month. This is when writers around the globe write furiously for one month with the goal to reach 50,000 words. It’s not an easy task and it’s not for everyone. But there is no doubt that NaNoWriMo encourages writing and bonding among writers.

If you are a writer, you can sign up for NaNoWriMo here. You can keep track of your daily word counts on their site, buddy up with other writers, join forums to get encouragement and help when you’re stuck. There are even threads on suggested music to listen to as you write.

If you’re a student or a teacher, check out NaNoWriMo for young writers here. There are tips on how to bring NaNo into the classroom and getting student’s work published here.

I’m going to be attempting NaNoWriMo myself. I’m a little terrified, but mostly excited to tackle a new project. I’ll be videoing my experiences throughout the month, including how I deal with each part of the process as I come to it.

Here’s my first video for you to check out!

Christina Farley's debut YA, GILDED, releases March 1, 2014 by Skyscape/ Amazon Children's Publishing. She is represented by Jeff Ourvan of the Jennifer Lyons Literary Agency, LLC. She blogs and vlogs about writing and traveling, and is often found procrastinating on Twitter
 

Summary and a few takeaways from SCBWI Canada East "The Art Of Story" Fall Conference in Montreal - by Debbie Ridpath Ohi

With Laurent Linn, my art director from Simon & Schuster Books For
Young Readers, at Montreal children's bookstore, Babar-En-Villes.

Just came back from SCBWI Canada East's "The Art Of Story" convention in Montreal, where I was on the faculty (my first SCBWI faculty position!).

Giving my keynote! Photo: Urve Tamberg.

For my full convention report with lots of photos, read my 3-part blog post series: Part 1 - Part 2 - Part 3.

The lightning rod analogy I used in my keynote seems to be popular (yay), so I want to make sure that it gets properly attributed. As I mentioned in my keynote, my Torkidlit friend and YA author Maureen McGowan came up with it, not me (in an interview for my Inkygirl blog). And it's so true!

For those who weren't at my keynote, Maureen compares success in the publishing industry to being hit by lightning. While you can't control WHEN lightning will strike, you CAN make bigger and better lightning rods.

Penguin Random House editors Jill Santopolo & Bonnie Bader with
Caldecott-winning illustrator David Diaz.

As I mentioned in my reports, SCBWI regional conferences are a great opportunity for aspiring children's/YA book writers and illustrators who find the national conferences too intimidating. So often at the bigger conferences, faculty tend to get mobbed at the end of their sessions. :-)

At SCBWI Canada East's event, you were much more likely to find yourself in situations where you could chat with faculty.

Casual socializing Saturday night for attendees included Linda Pratt (of
Wernick & Pratt Agency), editors Jill Santolopolo and Bonnie Bader
(Penguin Random House) and art director Laurent Linn (Simon & Schuster BFYR).

Here are just a few takeaways from the convention:

- Both Jill Santopolo and Bonnie Bader mentioned the importance of a having a unique cast of supporting characters in novels for young people.

- Illustrators: Before approaching a possible agent, Linda Pratt advises that you check the portfolios of the agency's current clients to see if any of the art is similar to yours. If it is, then they're less likely to take you on as a client. (From Debbie: Writers can also benefit from this advice as well.)

- Know the rules before deciding to break them. - Laurent Linn.

- Embrace your process. - David Diaz.

Jill Santopolo, Linda Pratt, Bonnie Bader and Laurent Linn during Sunday's Q&A.

For those out there wondering why publishers usually keep picture book authors from interacting with the illustrators during the process, Laurent had some great insights.

He points out that authors often feel ownership over their stories, and some don't realize that creating a picture is a 50:50 collaboration with the illustrator. If authors had input during the illustration process, they'd be more likely to pressure the illustrator over details. And as a writer, how would YOU feel if the illustrator standing over your shoulder as you wrote your story? 

Anyway, it was a wonderful event and I strongly encourage you to check out the SCBWI Canada East website for more info about their members and upcoming events, as well as your own regional conference.

And if you're not already a member of SCBWI, why not? :-)

For my full SCBWI-Montreal conference report: Part 1 - Part 2 - Part 3.

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Debbie Ridpath Ohi writes and illustrates for young people. Her illustrations appear in I'M BORED, a picture book written by Michael Ian Black and published by Simon & Schuster Books For Young Readers. For more info about her upcoming books with Simon & Schuster BFYR, HarperCollins Children's and Random House Children's, see her Books page.

On Twitter: @inkyelbows.

Revising for an Editor or Agent: Part 2

Revising your story for an agent or editor can be a little different than revising for yourself. Today, writer and editor Kate Fall and YA author Christina Farley talk about the revision process and how they handle editorial suggestions. [For perspectives from other MiG writers, see Revising for an Agent or Editor Part 1].

 

Kate says:

When I'm revising for myself, I usually have a mental list of "things that bug me about my manuscript." They may be things that nobody has mentioned. They may be things a critique partner told me that resonated. But I am out for me. These are things that bother me, my pet peeves. For example, I don't like disappearing objects. In one manuscript, my main character has a bracelet her boyfriend gave her, and it's stolen by someone she knows. And for my beta readers, that was enough. That made sense. But I would wake up in the middle of the night wondering where that bracelet was, and eventually I changed the ending so that my main character gets her bracelet back.

When I'm revising for an agent request for revisions, I'm listening to their input. Agents often have input like, "I see this a lot. Is it important?" And you know, maybe it's not. The classic example is the first day of school beginning to a novel. It makes sense from a narrative standpoint. But agents see it so often, they know it's overused. It's not necessarily bad, it's just done to death. And that's the input I like from agents and editors. My critique partners can help me build a story, but industry professionals can tell me what parts of the story are too similar to the competition. And that can force me to think deeper, and get beyond my first ideas.

Kate Fall writes middle grade and young adult fiction and is an editor with Entangled Publishing.

Christina says:

My agent’s suggestions are always interesting because he sees my book as something to SELL rather than merely just a story. And this perspective is very important! My little story is getting ready to go out into the world. It has to be unique, perfect and enticing for an editor to want to buy it.

When I'm revising for my editor, I start seeing my book not just being MY book, but my READER’S book. There are moments I have to let go of a favorite line or favorite word because it just doesn’t make sense to the READERS, even if it makes sense to me.

Christina Farley is the author of the YA novel, GILDED, which will be published by Skyscape in Spring 2014.

We'd love to hear your thoughts on how revising for an agent or editor is different than revising for yourself! You can read what MiG Writers Debbie Ridpath Ohi, Andrea Mack and Carmella Van Vleet think about this in Revising for an Editor or Agent: Part 1.