Write About Time - Supernatural and Time-Travel

I just re-watched last week’s amazing episode of Supernatural (the show airs on Thursday nights at 9:00, on the CW channel) and for me, it was definitely the best episode of the season so far, and I also think it was one of the best episodes of the whole series.

I’m a latecomer to the show, but after spending the summer catching up with the series on DVD, I’m hooked. It’s all thanks to Devon, my friend at work and a total fanboy, who spend last season raving to me about the show and trying to convince me to watch it. I told him I had started watching the show when it premiered in 2005, but had missed some of the early episodes, so I gave up on it. He lent me his box set of the first season, telling me he was sure I’d love it.

He was right. Ian and I started watching it in mid-June, and gradually were drawn into creator Eric Kripke’s mythic story of the Winchester brothers – badass Dean and emo Sam – cruising US backroads and highways in a cool ’67 Chevy Impala, on a quest to find their missing demon-hunter father and to search and destroy monsters and creatures of the supernatural.

Every time I saw Devon at work, he’d ask two questions – what episode was I on and what did I think of it so far? We’ve had some good, fun talks about it. And he doled out one set of DVDs after another to me – I told him he was like a dealer feeding crack to an addict! The show is addictive – Ian and I blazed through seasons 1 – 4, well before the season 5 premiere on Sept. 10th. And now, Thursdays are must-see TV nights. I haven’t been into a TV show this much since The X-Files and Sliders in the ‘90s.

The show has been so engrossing, and a welcome distraction from the stresses, frustrations, and uncertainties that seem to crop up in day to day life. And, because I also can’t help but watch with a critical writer’s eye, I’m learning what it takes to create great series characters and story arcs that help build an enthusiastic and loyal audience. I’ve found many websites devoted to the show and its strong cult following. I can only hope that my own writing will inspire readers to have even a fraction of the type of positive reaction and dedication that fans have for Supernatural.

What’s not to love? At its core, the show is family story, and its two leads, Jensen Ackles and Jared Padalecki, are perfect as Dean and Sam. Both have grown into their roles as their characters have gotten more complex. Jensen gives Dean a cocky irreverence that hides his doubts and longing for a “normal” life, and Jared’s Sam fears a darkness beneath his sensitivity and intelligence. They share a dysfunctional childhood, a strong sense of justice, a sometimes reckless bravery, a fervent need to honor their father, and an intense brotherly bond. Their family ties are at times nearly pathological, and have been their weakness almost as much as their strength. And did I mention that both guys are hot?!

The show is a great mix of genres – horror, action, drama, comedy, mystery and suspense. The plots are intentionally derivative – they pay homage to classic myths and folklore (such as werewolves, vampires, vengeful spirits, and urban legends) as well as pop-culture icons (like Star Wars, The X-Files, Stephen King, buddy movies, and lots of horror flicks) but with a fresh spin in each episode. Season 4 raised the stakes by adding angel characters to counteract the demons, in a battle of good and evil. Both brothers realized their actions unwittingly helped to bring on the apocalypse, and now, at the beginning of season 5, they have to deal with the ramifications, and face them head-on.

For me, one of the most exciting and interesting things about last season and this season is the exploration into time-travel, one of my favorite themes in storytelling.

In the 3rd episode of last season, titled “In The Beginning,” Dean was sent back to the past, to learn the origins of the Winchester family and how they became demon-hunters. In a Back to the Future homage, Dean met the younger versions of both of his parents, influenced his father to buy the Impala, met his grandfather, and learned that his and Sam’s lives were preordained, by the choices their parents made more than ten years before they were even born. It was an important reveal that added depth and understanding to the overall story arc.

And in last week’s episode, “The End,” after Dean has shunned Sam and said they’re better off without each other, he is sent five years into the future, to a post-apocalyptic wasteland where a deadly virus has turned most of humanity into something akin to zombies; the US is under martial law, decreed by President Sarah Palin; a risen Lucifer is wreaking havoc on the world; and a group of hunters/rebels, led by a future-Dean, live in a wooded compound and have taken it upon themselves to fight evil and battle Lucifer. It’s a horribly urgent wake-up call to present-Dean, and back in 2009 at the episode’s end, he makes amends with Sam and vows that they will not be pawns in the battle of good vs. evil – instead they will make their own future. I thought it was an immensely satisfying episode – and the time-travel was an important device to build the tension and raise the stakes for the rest of the season.

And these two episodes have helped me learn an important thing about using time-travel in storytelling – at its best, time-travel is a literary device that lends weight to a story’s theme, helps develop characters, and is a way for the characters to learn something about themselves and their lives, and gives them a chance to do whatever they can to try to change their present situations. But the characters are most essential to the story – readers must believe in the characters and the reality of their situations, and be invested in going the distance to find out the outcome of a time-travel plot. Otherwise, time-travel is just a gimmick.

In the time-travel book that I’ve been writing, my main character meets up with her past self, and the two of them switch time-frames and lives. Both learn important lessons about making choices, taking chances, and living their lives. And like Sam and Dean, they learn that they have a chance to make their own futures.

I care about my story’s characters and it’s important to make them as well-rounded, realistic and relatable as possible, so any readers will care about them as much as I do. My characters may not be facing the apocalypse, but their situations must be just as important to them within the framework of my story.

In interviews, Eric Kripke has promised to resolve Supernatural's apocalypse story arc by the end of this season. And I, along with others in the show’s strong cult following, am anxious and excited to see how it all turns out. I love spending part of my time in the world of Supernatural, and the show inspires me to want to spend more of my creative time in the extraordinary world of my own time-travel story.

Right About Time - Freaky Friday With Kim

In this blog, I've mentioned Kim Sabatini before - my wonderful writing friend and fellow SCBWI Shop-Talker, and founder of C'RAP (Children's w'Riters Always Procrastinate!), our sub-group of Shop Talk writers. She's not only a talentd writer of charming kids' picture books and young adult spiritual-fantasy novels, but she's an enthusiastic advocate of childrens' literature and an avid supporter of childrens' writers.

She writes a great blog, Jess Free Falcon, here at Blogger (www.kimberlysabatini.blogspot.com) and on LiveJournal (www.kimmiepoppins.livejournal.com), where she chronicles her writing progress, reviews books she's read, comments on her favorite childrens' authors, and tells stories about her family life.

She's also started a very cool weekly post, "Freaky Friday," where she interviews aspiring, rather than published, authors. As she describes, "If you've seen the movie Freaky Friday, you know that its premise is about change and growth through role reversal. ... I thought it would be intersting to interview aspiring writers; the same writers who spend lots of time reading the interviews of published authors and dreaming of the day when they might get their book on the shelves..."

So far, she's interviewed her friend Janine Lucas, a young adult novelist, who I met at SCBWI's Mid-Hudson Valley conference in June; fellow ShopTalker and C'rapper Dean Pacchiana, who is working on a series of young adult mysteries; young adult fantasy writer Jessie Harrell, who I met at SCBWI's NYC conference; and several writers she's met online through Facebook and Verla Kay's Blue Boards: Mike Jung, a writer of mid-grade books; Amy Spitzley, who's written five young adult fantasy novels; and Hilary Sierpinski, who has completed a mid-grade novel and has several others in the works.

In her interviews, Kim talks with the writers about their writing background; writing habits; current projects; and favorite inspiring books, among other things. She shows a window into the minds and lives of other writers, and I think that's very inspiring. I love meeting and befriending fellow writers, and I'm always interested in their writing interests, their process and their projects. Kim's "Freaky Friday" blog helps to widen her community of fellow writers, and gives readers a chance to find out more about them and their work.

This past week, I was honored to be Kim's interview subject! I've written several interviews in the past, with musicians and writers, when I was a journalism student, and as a contributor to a couple of local entertainment papers in the '90s. But this was the first time that someone interviewed me. It was fun and interesting, to talk about myself and my work "for the record."
Kim's interview with me can be found on her post dated Friday, September 25, 2009.

I really appreciate Kim's interest in my writing, and her friendship and support. She truly does as much to promote her friends' and peers' writing as she does her own. I'm looking forward to reading more of her "Freaky Friday" blogs and meeting and learning about other writers in her wide network.

Thanks, Kim!

www.kimberlysabatini.blogspot.com
www.kimmiepoppins.livejournal.com

Right About Time - Written in the Stars

I've always thought horoscopes were interesting, but I don't usually read mine every day. Most of the time, horoscopes are vague and general and can apply to anyone. But once in awhile, I come across a horoscope that seems to be written just for me.

Like the one in today's New York Daily News, written by Jennifer Angel:

"It's time to get serious, Sagittarius. The end of the year is almost here, and your goals and New Year's resolutions are up for reevaluation. Tick off what has been achieved, and what hasn't, taking into account what was realistic and what wasn't. Set new goals now for the remaining three months of the year, but make sure they're realistic and achievable."

Wow. A straightforward admonishment, that I really needed to read and contemplate. A wake-up call that the year is running out, and it's right about time to reevaluate my writing and focus on my writing goals.

I have achieved some of my writing goals so far this year. I took a step towards a more professional view of my writing, when I went with Kim S. to the SCBWI NYC conference in February. For that weekend, I got to see just how large-scaled the world of childrens/teen publishing really is. The big-time. And I was inspired to visualize my place in it.

I also went, with Michelle, to the local SCBWI Mid-Hudson Valley conference in June - our sixth one now. That helped keep the momentum of inspiration going through out the summer.

But what about the actual writing? At the beginning of the year, I planned to focus on two projects - my tween novel, What Luck, and my time-travel fantasy for adults - and to finish them both by the end of the year.

I'm still writing and rewriting What Luck, but haven't reached the end yet. I realized I need to restructure the plot to deepen the story for my main character, so I've been focused yet again on the first half of the book. I know how it develops and how it ends, and I've outlined it all. But I have yet to actually write out the ending.

As for my time-travel novel, I haven't done much more than an outline, character studies, and notes. I know I need to focus on one project at a time, and I've committed to finishing What Luck, but I also want to give the time-travel book more attention.

So, it is now realistic to still hope to finish both books by the end of the year? Probably not, since there's just over three months left, and the retail holiday season, which always eats up a lot of my time and energy, is fast approaching.

I seem to be in the same spot that I'm always in, at this point every year. With time running out on goals set with good intentions. Usually, it's around this time that I give up, and look to the new year to set the same goals again for myself, and hope that I finally get a chance to accomplish them.

But I need to break this cycle. I don't want to set my writing goals aside until next year. I feel the long shadow of time behind me, and I know that I can't count on unlimited time ahead. It's time now for accomplishments, not just dreams.

What Luck is in pretty good shape - I realistically think that I can finish the first draft by the end of the year, if I devote a lot of my time to it. I'll give as much of my free time as I can to the project. I'll keep in mind that the SCBWI NYC conference is coming up again in February - that should give me incentive.

I won't be able to do much with the time-travel novel in the next three months, but I can keep the story in the back of my mind, and continue to add to my notes when I can.

And if I start to get off track again, I'll remember today's message, that seemed to be written in the stars, just for me.

Right About Time - "One Song Glory"

One Song Glory
From Rent – by Jonathan Larson

“I’m writing one great song before I…
One song glory
One song before I go
Glory
One song to leave behind…
Find one song
One last refrain
From the pretty-boy front man
Who wasted opportunity
One song
He had the world at his feet
Glory
In the eyes of a young girl
A young girl…
Find glory
Beyond the cheap colored lights
One song
Before the sun sets
On another empty life
Time flies … Time dies
Glory – one blaze of glory
One blaze of glory – glory
Find glory
In a song that rings true
Truth like a blazing fire
An eternal flame
Find one song
A song about love
Glory
From the soul of a young man…
A young man
Find the one song
Before the virus takes hold
Glory
Like a sunset
One song
To redeem this empty life
Time flies …
And then – no need to endure anymore
Time dies …”

Adam Pascal’s voice, singing the words to one of my favorite songs from Rent, has stayed in my mind since last week, when Ian and I saw an amazing production of the musical at Proctors Theatre in Schenectady.

Rent is one of my favorite musicals, and though I never got to see it on Broadway, I saw a touring production in West Point about ten years ago with Ian and my sister. And I’ve seen the movie, in the theater and several times on DVD. But this production was special – billed as Rent: The Broadway Tour, it stars original cast members Adam Pascal (as Roger), Anthony Rapp (as Mark), and Gwen Stewart (the soloist in “Seasons of Love”). The rest of the cast was as outstanding as the original members; the voices of the cast and the music of the band were perfectly mixed; and the staging recreated the gritty East Village, NYC set within the elegant theatre. I feel fortunate that we were able to see the show (from excellent seats – 5th row!) and I recommend this tour to anyone who loves the play. (It runs through January, 2010.)

The story of Rent’s creator, Jonathan Larson, is a poignant counterpart to the play’s tale of (as Jonathan described it) “a community celebrating life, in the face of death and AIDS, at the turn of the century.” It took seven years of collaborative work to bring the musical to its preview run at the East Village’s New York Theatre Workshop. But sadly, on January 25, 1996, before the first preview, he died of an aortic aneurysm. Rent went on to be an off-Broadway success; then moved to Broadway that April, where it won several awards, including the Tony Award and the Pulitzer Prize. It closed last September, after 12 years – the 8th longest-running show on Broadway. And tour productions continue to be performed around the world.

The musical’s plot is loosely based on Puccini’s opera La Boheme, and Jonathan Larson based the characters on himself and his circle of friends in downtown NYC. Like the main characters Mark and Roger, Jonathan and his roommates lived in a run-down apartment with inadequate heat, and like Mark, Jonathan’s ex-girlfriend left him for a woman. Like filmmaker Mark, Jonathan wanted to tell his friends’ stories through his art – by creating a rock opera. And, like Roger, the musician who longs to write one great song, Jonathan hoped his creative work would make a difference. And it did – Rent changed modern musical theatre.

Many consider Rent to be Jonathan Larson’s “one song glory” – it is his most significant and successful work, and it made him an important figure in musical theatre history. But biographical sources show that he wrote several works before Rent, and was mentored by Stephen Sondheim early in his career. He wrote and staged a musical, Sacrimmoralinority, while attending Adelphi University, and it was later produced at a small theatre in NYC. In the ‘80s, he wrote Superbia, a rock musical based on George Orwell’s 1984, but it was never fully produced. Then he wrote tick…tick…BOOM! in 1991 – an autobiographical musical monologue about a frustrated composer struggling to make a living in New York theatre. The play was eventually produced Off-Broadway in 2001, and has played in several US and international productions. Jonathan Larson’s collective work was given to the Library of Congress in 2003.

And just as Jonathan Larson had more than one play in him, his character Roger has more than just one song. Roger’s back story emerges throughout the play’s lyrics – he had been the front man in a band that played shows at CBGB’s and other clubs in NYC, and presumably, had enough songs to attract a following. But now he’s HIV+ and a recovered addict, depressed and regretful over the suicide of his girlfriend, and his “wasted opportunity.” He sings One Song Glory, expressing his frustration and longing to write one last great song to make up for his mistakes and “redeem this empty life.” He wants it to have meaning – “a song that rings true,” but he doesn’t find inspiration until he meets and falls for Mimi, the HIV+, heroin-addicted dancer who lives downstairs. He resists her at first, but her positive, “no day but today” embrace of life draws him in, and he tries to support her in her struggle to stay clean and healthy. It’s all too much for them, though, and they break apart. He finally draws on his emotions of love for Mimi, and writes Your Eyes, a song that he sings to her when they reunite, as she’s deathly ill. Roger’s meaningful “one song glory” revives her and leaves everyone with hope.

Though I love all of Rent – every character and song – I’ve always felt an affinity to Roger and his One Song Glory. I don’t know what it’s like to be a male, HIV+, ex-addict/ musician. But I understand his frustration, and his writer’s block stemming from his lack of control over his situation. My own situation isn’t nearly as dire as Roger’s, but I often feel creatively stifled by time constraints and day-to-day stress. Also, I understand Roger’s desire to write something with meaning, to redeem his mistakes and add some depth and significance to his life. I hope to do the same thing with my writing – writing gives me a sense of purpose in this life. And lately, I can understand his urgency – over the past several months, the losses of a friend, a relative, and some friends’ relatives have reminded me that this life is uncertain and sometimes fleeting. What matters is embracing life and the people in it, and doing something/anything to make a difference. For me, it’s using my writing ability to create stories that will mean something to readers and that can add something positive to this world.

I know I have many more stories in me than just one. And my feelings about my writing change depending on the project. Some of them leave me frustrated, and some give me hope. Some of my stories are just creative amusements. And some have much more depth than others. But I’m trying to focus my writing on a couple of projects at a time, to hopefully redeem the wasted opportunities of the past. And hopefully, some will be published and will go out into the world. But I find myself thinking of One Song Glory, and wondering which of my stories will have the most meaning, the most significance, in this life. Which one will represent my thoughts, emotions, and ideas the best? Which one will “ring true … truth like a blazing fire, an eternal flame”? Which one will have the potential to make a difference in this world? Will I find the one great story, like Roger found Your Eyes and Jonathan Larson found Rent, to leave behind – “one blaze of glory”?

I’ll keep being inspired by Rent, and I’ll keep those questions in mind, while hoping to find the answers one day. Until then, I’ll just keep on writing… and writing… and writing. Because “time flies…”

Right About Time - SCBWI Mid-Hudson Conference

On Saturday, Michelle and I went to the SCBWI Shop Talk meeting at the bookstore. There were 23 people there – a big crowd – and about half of us had attended the June 13th SCBWI Mid-Hudson conference. We all talked briefly about it, and everyone agreed that this year’s line-up of speakers was great. It’s been over 2 weeks since the conference, but I’m still on a high and feeling inspired and motivated by it.

It was the sixth conference that Michelle and I have attended, and it was, as always, well-planned and well-coordinated. But I couldn’t help comparing it to the NYC conference that Kim S. and I went to in February – that was my first big-time writing conference.

The Mid-Hudson conference definitely feels homey and comfortable now – different from the nearly overwhelming excitement and sensory overload that I felt in NYC. Michelle and I saw many familiar faces – some local authors, several members of the Shop Talk meetings, and even some customers from B & N. The conference has been at the same location for four years now – the former Best Western/newly-named Mercury Grand Hotel in Poughkeepsie, so it was easy to find our way around the lobby, ballrooms, smaller conference rooms – and the bathrooms too!

But the Mid-Hudson conference is just 1 day instead of 2, so it seemed to go by in a flash – the welcome and keynote speeches were followed by 2 breakout lecture sessions; then everybody had lunch in a banquet room and shopped for the presenting authors’ books in the lobby; then after another breakout session, everyone regrouped for a panel discussion and door prizes. There was so much to take in – I took copious notes, as usual, until my left hand and arm were cramped and achy. But it’s so great to be able to hear authors and editors talking about their own experiences in writing and publishing, and giving valuable advice – I didn’t want to miss a word of it.

Regional advisor Barbara Wells welcomed everyone, and thanked the conference committee for their hard work throughout the year – co-chairs Della Ross Ferreri and Karen Kaufman Orloff are already working on next year’s conference.

Linda Sue Park, the author of many books for children and young readers, including the Newbury Award winning A Single Shard, gave the keynote address. Scheduling conflicts had kept her from being able to speak at the Mid-Hudson conference for the past few years, but she was well worth the wait. (www.lindasuepark.com)

Even though she came from a different background, growing up in the only Korean family living in a Chicago suburb, I could relate to how her love of books led her to become a writer. She was first published in a newspaper children’s column when she was in the fourth grade, and she told the paper she wanted to be an author of children’s books when she grew up. She published her first book for young readers, Seesaw Girl, in 1999, and her latest novel, Keeping Score, was published last March. It combines the history of the Korean War with her love for baseball – a fan of the Chicago Cubs and New York Mets, she joked that writers should get attached to a losing sports team because “you’ll learn the cycle of disappointment and hope.”

She said that although every writer has a different “magic formula” for writing, there are “Three Rs” – rules that apply to everyone:

Read. Reading is like Olympic training for writers, a total immersion in the language of stories – you can learn everything from great books by great writers. She said she read about 400 novels before writing her first book, and it sold from the slush pile on her first try – “that wasn’t a coincidence.” We should take half of our “screen time” in front of the TV or computer and devote it to reading. I’ve read 27 books (8 of them teen novels) so far this year – I think that’s pretty good, but I would like to have even more time for reading. And I want to read more teen novels, since that’s what I’m writing right now.

Routine. A writer needs discipline, along with talent and passion. She found time for a writing routine while her two kids were growing up – 2 hours a day, with no distractions. Whatever commitment we can make to our writing, we should stick to it. I still need to find a writing routine – it’s hard to write daily because my work hours change from day to day. I don’t even keep up with daily journal writing. But if I commit to my goal of finishing my book before the end of the year, I should commit to writing at least 3 – 4 days a week.

“Recreation,” also known as Revision. Listen to critiques, even if we don’t agree with them. Then “play with the manuscript,” while keeping the original version, to see if the changes work. She said she was told that a secondary character from Keeping Score was dominating the book. She loved him, but she took him out of 2 chapters, and realized she didn’t need him so much in her story. The only problem I have with revision is that I do too much of it – I’m always reworking what I’ve written, over and over, and sometimes it keeps me from moving forward with a story. So I think I need to keep up with my recreation/revision, but I need to learn when enough is enough!

Linda Sue Park left us with the encouragement that we can use the Three Rs to make our stories magic for young readers everywhere. Afterward, Kim caught a picture of the rearview, and mirror image, of me having my books signed by Linda Sue Park! (credit to Kim)




Michelle and I went our separate ways for the first breakout session. Although the “Seriously Silly” talk by humor writer/ picture book author Alan Katz sounded fun, I thought I could better use the advice of “The Tao of Procrastination,” presented by author Elizabeth Cody Kimmel. (http://www.codykimmel.com/) I have serious issues with procrastination and what I call my writing ADD (constantly starting to write new book ideas instead of focusing on 1 at a time – I have nearly 20 partly-finished manuscripts just waiting to be completed!)

Elizabeth Cody Kimmel humorously acted out her typical writing day: staring at the computer screen; making several runs to the kitchen for coffee; getting tempted away from the blank page and onto Wikipedia and I-Tunes; and letting random thoughts distract her from her story. Everyone laughed – I felt like it could be me up there, doing the same things (but replacing snacking for coffee drinking) and it was great to see a prolific and successful writer with nearly the same writing process as mine.

Even her writing background and school study habits were similar to mine – she’s been a writer all her life, and still has the first picture book she wrote and illustrated when she was in the second grade. A lot of my school writing projects have been lost or discarded during the many times I’ve moved, but I still have a folder of some illustrated stories from elementary school, and I have the first novel I wrote, in a marbled notebook, when I was in fifth grade.

But Elizabeth Cody Kimmel saw the difference between “fun” and “school” writing, and so did I. She said she was an “all-nighter champion” in college, waiting until the night before a big paper or project was due. But then a “just do it” determination would kick in, to write it and write it well, and she always did. Yes, I remember too many similar all-nighters as well, throughout all of my school years.

While working for a literary agent, she wrote her first young readers’ novel, but even with her agency’s representation, it got 14 rejections. So she wrote another novel, In The Stone Circle, that was published by Scholastic. She gave herself a year to write her next book, but she didn’t spend 40 hours a week (the hours of a typical job) writing it. She spent some time researching, web-surfing, hiking, doing errands and raising her daughter. She said she felt like she was “faking it” and not working enough at writing.

But she’s published 28 books in 13 years (wow, that’s prolific!) and she realized that she was doing something right – that even her “off-time” fed her writing, and some of her ideas and activities have worked their way into her stories. She gave up her need to control her writing time and the sense of guilt about how much writing she was doing or not doing, because that was a detriment. And for every time she procrastinates, there’s a time when her “just do it” voice kicks in, and she starts writing and is very productive.

She cited playwright Edward Albee as having a similar approach – he walks around for months “with play,” letting it incubate like a baby, and then finally sits down and writes the play out. Writers need to indulge in silence, daydreaming, hiking – whatever down-time works. It’s like a solar panel – we need to charge our power before we can use that energy to write. But we should always think about the end result, so it doesn’t become a “slippery slope” of inactivity.

She said it’s different for everyone – some writers need to stick to a fixed writing schedule, and some need more latitude. We need to learn what’s right for us.

And that was advice I really needed to hear! Afterwards, when I asked Elizabeth Cody Kimmel to sign her book, Lily B. on the Brink of Love, for me, I told her I really saw myself in her writing approach, and she said that whenever she gives this talk, many others tell her the same thing. I’m so glad I’m not alone in my procrastination-then-writing process!

Holiday House editor Eleni Beja gave the next talk, “Throw Your Voice, Catch a Reader.” She said voice is the most important thing in writing, and often decides if a work will get published or not.

A great voice draws the reader in, induces trust, creates atmosphere, and conveys the mood of a story. It gives a sense of the characters, and shows what’s important to them and how they change throughout the book. Voice can allow readers to enter another time and place and get a sense of what it’s like there. It is your unique product that carries your manuscript and gives your story power. I think my voice is pretty well developed, after so many years of writing, but I’m always striving to improve it.

She said to find and develop your voice, listen to what speaks to you, and pay attention to the vision in your mind. To define your character’s voice, allow yourself to define yours. Do research, not just for facts, but to shape your voice. Write like you talk – record it, then transcribe it – the results can be surprising. I like this idea – I’m going to try it and see how it helps improve my writing.

Try writing your story in the first person, and then in the third person, to see which point of view fits best – I’ve done that with a few of my stories. Read books set in your story’s time period, to get a feel for the language of that time. Copy authors you love and pay attention to what works for them – you can learn from imitation. If your writing is timid or stiff, work on your boldness. When you think you’ve found your voice, test-drive it to see if it goes the distance. Read your work aloud, and look for traps in voice. I sometimes find that when I read my writing aloud, it sounds different from how it sounds in my head, and I am aware of passages that sound rough or wrong – the traps.

One trap is the use of clichés, especially similes and metaphors. Don’t settle for them – always try to use fresh metaphors. Another trap is when the story stalls at the beginning – you should dive right in ASAP. You can slow-build your story, as long as you keep it moving. Also, don’t reveal everything right at the beginning; a tip-of-the-iceberg approach is best. You can reveal information through your characters and voice. Beware of predictability – you don’t want your reader to be ahead of you. Lack of rhythm is another trap – the arrangement of words matters. She suggested Line By Line: How to Edit Your Own Writing by Claire Kehrwald Cook, as a helpful book to use when re-writing, so your book can be its best. I’ll have to order that book from work, to add to my collection of helpful writing books.

As an editor, she reads the slush pile (unsolicited manuscripts) at the end of the day when she’s “tired and cranky,” and 97% of slush manuscripts are not excellent, so submit only your excellent work that you can be proud of. Check out Holiday House’s guidelines, and their line of books. You should “type” your book into a genre, because publishers do that with their line. She makes sure a book is right for their market, and that the staff agrees. It can take 3 – 6 months for a response. If you get an encouraging rejection, think about the criticisms and how you can improve your manuscript – your voice can indicate what problems there are in a story.

It takes an average of 1 ½ - 2 years from a novel’s acceptance to publication, so look 2 years ahead – don’t write a story that fits today’s trends, because in 2 years the market will have moved on. The bottom line is an editor only has so much time and money to spend for the next 2 years. A great voice gives you leverage, and can help your book stand out. These stats are somewhat overwhelming, but they do give a realistic perspective of children’s publishing today.

We took a break for lunch, and Michelle and I joined Kim and her friend Janine; fellow Shop Talkers Roxanne and Angela; Justin and Jeff, who were also at the NYC conference; and some other writers at a large round table. It was great to catch up with everyone and talk about the sessions and our projects. But the time went by so fast; I wish there could be more social/networking time. It’s just as important to meet and connect with our peers as it is to learn from the professionals.

The last breakout session, “The Slush Hour,” featured Lisa Graff (http://www.lisagraff.com/), author of 3 novels for young readers (published by Harper Collins), and an associate editor at Farrar, Straus & Giroux. She used her experience as both writer and editor to give us tips on what to do and what not to do when submitting a manuscript.

She said that FSG publishes about 80 books a year, in all genres, but they receive from 20 – 100 submissions a day. Wow, that’s a lot of reading, and a lot of work for the editorial team! All manuscripts are sorted in piles. Agented material goes in one pile, manuscripts from conference attendees goes into another pile. She described slush as any unfamiliar manuscript, by an unknown author or without a publisher. The slush pile is on the back burner and the last to be read – but it does get read. Typically, editorial assistants and interns are the first readers, and if a manuscript looks promising, they’ll pass it on to the editors. She reads about 25 submissions or queries a day.

Sometimes real gems are found in the slush pile, such as the young reader book At the Sign of the Star by Katherine Sturtevant, and the teen novel Keesha’s House by Helen Frost.

She gave great advice on how to make a manuscript stand out in the slush pile. Research the publishing house – don’t submit if it doesn’t accept unsolicited manuscripts. If it does, read some books in the backlist, to make sure your book is of a similar tone or genre. Request a publisher’s writers’ guidelines, and stick to the rules. Find editors in the acknowledgment pages of books that are similar to yours, and research to find out facts like the exact spelling of an editor’s name, and their title. It’s best to submit to someone lower on the “totem pole” – an assistant or associate editor, who can give more time to a manuscript.

Submit your best possible work – editors want to see manuscripts that are publishable, even if they will still edit a lot and ask for a lot of revisions after acceptance! Send in a professional package – typed in black ink on white paper, with no typos, and a self-addressed stamped envelope for a reply. She wants to see the first 3 chapters – they’ll show if the beginning is strong and what the writing style is like – and a 1-page synopsis that describes the arc of the story. The cover letter should be concise, and state why you’re submitting to the publisher; a brief and intriguing description of your story; and your publishing history or some information about you that’s relevant to the book.

Your work should speak for itself, so don’t add any “bells and whistles” to your submission – it’s really unprofessional. She said she once received a package that had a lot of confetti in it, that went all over the floor, and took a long time to vacuum out of the carpet! And don’t send gifts – that’s just weird. Someone sent her a pair of blackened goggles along with a historical adventure story once, but it didn’t make sense to her! Things like that don’t make the editors want to publish a book. I’m sure many editors have strange submission stories!

Like Eleni Beja, Lisa Graff said it takes about three months for a response, but it varies among houses. Editors have to read manuscripts on their own time, because there’s too much to do in the office. Then, if a manuscript is strong, they write a report on the book’s strengths and weaknesses, and will check out the market to see if it fits in. She said to be patient – after 3 months it’s OK to send a polite e-mail to check on the status of your manuscript. And multiple submissions (sending the same book to several publishers simultaneously) are OK, as long as you state it in your cover letter.

Editors send out several kinds of responses, depending on the manuscript. The “dreaded form letter” says the book is not right for the house, or it’s too similar to one of their already-published books. Lisa said she’s received dozens, and has kept them in a file. A “not-very-personal letter” shows that your manuscript was noticed because they took the time to mention your book title and address the letter to you personally. It’s a more positive kind of rejection. A “more personal letter” gives some guidance – it’s explains why the manuscript isn’t right, and you can use the advice to make changes, if you agree. Sometimes an editor will say that they’d be interested in your revised submission, or would like to see some other work – this is encouraging.

If an editor wants to publish your book, you’ll get a phone call or e-mail. But don’t just wait around for a reply – work on your next book instead. It might not be so hard to get rejections if you’re focused on another book. I haven’t gotten to the submissions level yet, but I know I won’t have a problem with starting on a new book while waiting for replies. I have several stories on the back burner, waiting for me to finish them!

Lisa Graff did say that she had sent her manuscript to slush piles at publishers, while she was getting her degree in Children’s Writing at the New School, but met her agent, who sold her first book to Harper Collins. Although FSG has published many unagented authors, she thinks agents are the best thing for writers – they handle business matters and any uncomfortable situations, so the writer can just focus on writing. I’ve done a lot of research on various publishers, but I need to do more on agents. At Saturday’s Shop Talk, Kim showed me a big binder she’d put together with information on several agents and their agencies – she’s really done her homework and her book is in the submitting stage – I hope she has great success with it!

The conference ended with a faculty discussion panel. Michelle and I sat in the back, because she was tired and needed to be able to get up and walk around to relieve some of her pain. So it was hard to see all the writers and editors as they spoke. I did take some general notes on the questions and answers, though.

The editors said they see too much of work that isn’t excellent – authors need to pay full attention to their books. Writers should read widely in their genre, to see what type of work is being published now, and if their book will fit in. They shouldn’t try to imitate successful books, but should write original stories that speak to them. Also, beware of heavy-handed lessons in books – it’s better to have more subtle stories.

It’s helpful to have an agent who can look at a contract and can negotiate for things like the delivery schedule; number of free copies; and foreign and film rights. If you don’t have an agent, it’s OK to get a literary lawyer to look at the contract, but it’s worth it to have a good agent.

Door prizes were given out at the end of the day – a copy of each of SCBWI’s Master Class DVDs. Michelle and I had filled out entry forms for both Richard Peck’s Master Class on novel writing, and Tomie DePaola’s Master Class on the picture book. I figured I might as well enter both, even though I don’t write picture books – chances were slim that I’d win anyway. So I was very surprised when my name was called as the winner of Tomie DePaola’s Master Class! I was happy to give it to Michelle – she loves drawing and has done some imaginative illustrations as a hobby. She’s thought about writing and illustrating a picture book – now she’ll have a DVD of instruction and information, from one of the very best illustrators in the field, to encourage her!

Afterwards, some of the authors stayed to sign their books. Lisa Graff autographed my copy of her first book, The Thing About Georgie, and I thanked her for her motivating talk.

And Della Ferreri was excited that her new picture book, Star of the Show, was just released, and she signed my copy for me.

Della with Michelle

Kim and Janine were meeting Kim’s family in the hotel lobby, so we took some pictures while we waited for them.


Janine and Michelle (photo credit to Kim)

Kim, Michelle and me

Then Kim’s family arrived – it was great to meet her husband, her mom, her in-laws, and her boys – who are her biggest fans!

Adorable Aidan and Kim – he’s the inspiration for the character of sweet little Oliver in her book. The picture’s a little blurry but it was so cute I had to include it!

The conference was just what I needed to reinvigorate my writing – I’m more than halfway through What Luck, and since Kim helped me figure out how to write the end (during the NYC conference) I can see it in sight. It’s right about time to keep working on the story – now that I’m finally done with this blog post!!

Right About Time - A Motivating SCBWI Writing Meeting

This morning Michelle and I went to SCBWI's Shop Talk meeting at the bookstore. I'm glad we could spend some quality "girl time" and writing time together, and glad for another SCBWI gathering. It was just the motivation I needed after a seriously dry spell with my writing.

Karen Orloff, author of the picture books I Wanna Iguana and If Mom Had Three Arms, moderated the group today. She's a former editor turned kids' writer, and it took ten years before she was published, so she has a wealth of knowledge and experience to share. I admire the success she's had - she has two more picture books coming out in the next two years. She's a warm and welcoming group leader, too. Her website is http://www.karenkaufmanorloff.com/.


Karen Orloff is also on the planning committee for SCBWI's Mid-Hudson Valley Conference, that is now just two weeks away. She and co-planner Karen Shan gave us conference news - registration is filled now, with some people on a waiting list. I'm so glad Michelle and I got our registrations in on time! We're not having our manuscripts critiqued this year, but I know we'll still get a lot out of being there and hearing the presentations. Linda Sue Park is the keynote speaker (I wrote about her in a previous post) and it took several years to be able to book her for the conference, so many are looking forward to hearing her speak. There will be several editors and art directors giving presentations as well as critiques, and the two Karens reminded everyone in the group that these professionals participate in conference hoping to find new writers and illustrators, so it is OK to approach them, during the free time in between sessions, with comments and questions and to trade business cards. Karen Orloff said the best thing about the conference is the chance to be with a large group of like-minded people - it's motivating and inspiring.


I think the conference will be just what I need to jump-start my writing again. I had been hoping to finish the first draft of What Luck in time for the conference, but I admit I've been struggling with it, and with two other stories that are also starting to come strongly into my mind. I've been writing a lot of notes and ideas, but haven't actually started writing these new books yet. The new stories are darker in tone, and seem more in line with my mood lately. With everything that's been happening in this life now, I can't very well dredge up the sense of lightness and humor that seems so much a part of What Luck. I haven't given up on it - I still want to see the book through to completion. But I need to look at all the stories and weigh them against my mood and see which one is most appropriate to write right now. Which one that I can write most naturally and unforced. And then just go with it.

I'm hoping the writing conference will help give me the clarity I need to make this decision, and the motivation to work on the right project until it's finished. I'm really looking forward to it - June 13th is coming up fast.

I'll be sure to write a post - hopefully a very positive and inspired one - as soon as I get back from the conference.

Right About Time - Remembering Eric

A week ago, I found out that my friend (& brother of my best friend Michelle) Eric Mead passed on. When I first got Michelle’s message on Friday night, I couldn’t breathe from the shock and the sadness. He was only 42, and had touched many people from all walks of life during his time here.

There were so many friends and relatives at his funeral service on Wednesday – it was standing room only. Many relatives from their extended family; friends from his adopted town of Millbrook; people he had volunteered with at an animal shelter; friends from his AA and NA meetings; some ex-girlfriends; people he had gone to school with; friends he knew through Michelle; and many more were there to remember him, and to support his family. I know that must have been a comfort to Michelle and their mother Claire. I hope that all this love and support, as well as their faith and their strong mother/daughter bond, will help them cope and somehow carry on through their forever-altered days.

The service was sad and overwhelming, but also heartfelt and a great tribute to Eric. Michelle’s favorite priest from her church gave the sermon, to remind us all that death is the gateway to everlasting life. Our friend Katie, an opera singer, sang “Ave Maria,” and a Puccini aria – it was beautiful. Our friend Larry (who warned everyone that he’s NOT an opera singer!) sang “Will the Circle be Unbroken.” Several relatives and friends spoke about Eric, and Michelle gave a great eulogy, that honored Eric’s unique personality and spirit. She said that Eric was many things to many different people: an artist/poet; a rebel; a philosopher; a spiritualist; an animal lover; a recovered addict; an individualist; a person who was always real, spoke the truth, couldn’t tolerate injustice and lived a simple, creative life. She said he was all of these things to her, and the best brother she could ever have. Michelle’s love for Eric gave her the strength to overcome her grief, as well as the physical pain and exhaustion caused by her fibromyalgia, to give this lovely tribute to him.

I wished I could have spoken at the service – I felt that I had something to say, but the words were stuck inside my throat, the feelings stifled in my mind and heart. I’m uncomfortable speaking in front of groups of people anyway – I’ve always thought that’s why I’m a writer rather than a performer or public speaker. But in the past week I haven’t been able to write it all into words either. The thoughts have formed in my mind, but then I’ve found myself at the keyboard, unable to type letters into words into sentences into paragraphs, that would adequately express what I think and feel.

This has been a common problem for me – my inability to write whenever something bad or sad happens. I start thinking, life sucks – why bother? The writer’s block can last for days or weeks, until I can deal with what happened and move through it. But by the time I’ve finally emerged from my funk, the setback has affected whatever project I’m working on, and it’s hard to pick it up and continue. I’ve allowed this to happen too often – it’s no wonder I’ve had trouble finishing my many projects. My old journals have pages and pages that are blank except for the date and the notation “didn’t write.” I can look through them and remember, oh yeah, that was a bad day… that one, too… that one, too.

But I think it’s right about time that I try to write through the sadness and numbness, and tell what I would have said about Eric at his service. To talk about Eric, the poet/artist, and how his creativity inspires me.

Eric was one of the most unique and interesting people I’ve ever known – he had a brilliant, creative mind and personality that could barely be contained. Although I’ve been close friends with Michelle for over 15 years, I’ve actually known Eric longer. He and my sister Karen were friends for about 25 years, since they were teens. Karen was deeply affected by his passing, and despite chemo-induced pain and fatigue, and emotional distress, she went to the service, to let Michelle and their mother know how much Eric meant to her over the years.

The first time I met Eric was in 1986, when he came bopping into the mall record store where I worked, looking for a friend who worked there too, but had gone home for the day. He spent hours, until the store closed, excitedly talking to me and the store manager (complete strangers) about his passion for music and his plans to be a rock star. I knew then that this kid was one of a kind.

Around that time, Karen met him through some friends, and they became fast friends. They both had rebellious natures, and a mutual interest in music, books, and art, and they spent much time hanging out and talking about everything. Over the years, Eric gave Karen tapes of music that he’d written and recorded, and pages of poems and writings, all expressing his many thoughts, ideas, opinions and experiences.

By the time Michelle and I met, around 1993, at the bookstore where we worked, Karen and Eric had grown apart a bit, but once we found out they knew each other, we encouraged them to re-connect. Michelle also gave Eric a creative outlet for his writing – she’d started her own ‘zine, Artless & Naked, a forum for free-expression that she compiled, printed and distributed regularly. Eric’s incisive free-form poetry usually took up several back pages, and gave readers much to ponder once they closed the back cover.

Eric was inspired to start his own iconoclastic ‘zine, Americhaos, and he created several issues, full of his poetry, prose and illustrations. His work asked questions, stirred controversy, and broke barriers. I did an interview with him for Artless & Naked, and we had some great, long talks that stretched out into a 2-part article. It could have been longer – he never ran out of interesting things to say.

In 2001, my friend Lee started a poetry open-mic night, at his Cubbyhole Coffeehouse. Eric became a regular, poetry-slam-style reader there. He would always make sure he went on last, and he usually ran overtime, but he always captured everyone’s attention, and gave them food for thought to carry home with them. People who thought they would be hearing “flowers and teacup” poetry, as Eric liked to describe it, were left astonished. He would throw his whole self into his rapid-fire readings, and the room would crackle with energy, and then at the end he would just go outside for a cigarette. Each week people who were impressed would follow him outside to tell him their reactions, and he would say thanks. I could tell he was glad when they “got it.” But more important than an audience’s reactions was the chance for self-expression. And he would have pages of new poems each week, always something new to say.
In more recent years, Eric worked prolifically on paintings and illustrations, as much as his writing. He would create vibrant abstracts, with recurring motifs of bright colors, sharp angles, pyramids, and eyes. Michelle gave him gifts of pastels and large artist pads, and he sent her back dozens of drawings, each one a visual image of his ideas and thoughts that he expressed in his writing. He was truly a multi-media artist, and the last time I talked with him, he was excited about some new projects he was working on.

Some of his paintings were displayed at his service, and they emanated his passion and personality throughout the room. And I thought of his gift of turning everything he experienced and felt – the hard times of pain and struggle as well as the good times of humor and happiness – into art. He never let anything hinder his creative self-expression. He truly lived an artist’s life.

And so I think I will do my best to honor Eric by trying to write during the bad, hard times instead of just waiting for the good times when my creativity is easily expressed. I need to open myself up, and breathe, and push past the blocks of sadness and malaise. I need find a way to turn everything in this life into artistic expression. I need to live an artist’s life, even when I’m not writing.

Michelle fervently believes that Eric’s spirit lives on, and I believe it too. He’s especially present in his works of art – his poetry, paintings and music – creative touchstones that will help him be unforgettable, always.

I can only hope my writing will do the same for me, someday.

Thanks, Eric.

Write About Time - Home Again

Wednesday was a good day turned bittersweet when Ian and I spent the day in Woodstock, NY, my hometown from 1991 – 1998. I hadn’t been there since August (it’s about an hour’s drive away, and schedules and obligations keep me from going there often) so I was glad for the chance for a day-trip get-away on a nice early-Spring day.

I’ve always felt a special affinity for Woodstock, even before my ex and I moved there. To me, it’s the perfect combination of culture and nature - an artist’s colony since the early 1900s and a center for music, film, theatre, and art, in the midst of the Catskill Mountains. The town gave its name to the famed 1969 Woodstock Festival, although it actually was held 40 miles away in Bethel. And Saugerties, Woodstock’s neighboring town, hosted the 25th anniversary festival.

Though my ex and I both commuted to work in Poughkeepsie, Woodstock always felt like home to me. My ex and I bought a contemporary-style house across from the Millstream, and had a 1970s VW bus, named “Stella Blue,” from the Grateful Dead song. We had three cats – Rasta, my black long-haired kitty soulmate; Frazzle, our high-strung calico; and Munequita (Mooney), our rescued gray tabby.

Looking back, I was most content on my days off alone. I would spend warm days writing at the picnic table on the front deck, with the rushing Millstream in the background. I’d walk down wooded backroads, and do errands and shopping in town, sometimes by myself and sometimes with visiting friends or family. In the winter, I’d curl up with a blanket, the cats, and a book or my writing – music provided the soundscape for snow falling on the skylights and outside the windows. Even though we weren’t as socially connected to the community as those who worked there full-time or were longtime residents, I felt like a Woodstocker. And I felt that I had plenty of time to become part of the community; I’d found my home.

So I was devastated at losing my home and my town when my ex left – I couldn’t afford to live there on my own, so we sold the house and I moved back to Poughkeepsie, near my family and job. I don’t miss him, but I miss my house and I miss Woodstock. And I feel like I left an essential part of myself there.

I’ve gone back several times each year, for day-trips with Ian and friends – to see bands, plays, and art shows. When Rasta died, Ian and I scattered his ashes in the Millstream across from my house. The town has changed little by little over time, with favorite shops and business gone and new ones in their places. But the feeling of Woodstock stays the same.

On Wednesday, Ian wanted to go to the Center for Photography at Woodstock, to submit an entry of images for their Photography Now exhibition, opening in June. So we stopped there first, and looked at the current exhibit of photos, and then decided to get pizza for lunch. Unfortunately, Woodstock Pizza, a longtime hub of the Village Green, has closed, so we went to Catskill Mountain Pizza, in the old Cumberland Farms building, on Mill Hill Road. It had great pizza, and a funky-hippie atmosphere, with old posters on the walls and a Grateful Dead live concert as background music. Different place, different time, different partner, yet it almost felt so much like 15 years ago.

The pull of nostalgia carried me through town, as I reminded Ian of the many changes. The Flying Watermelon, a cool T-shirt and Woodstock memorabilia shop on the Green, is now a real estate office. A CVS now occupies the space that had once been Grand Union, the only grocery store in the village – we remembered the furor it caused several years ago. I’m so glad that Not Fade Away, the tie-dye shop that’s a hallmark of Woodstock, still seems to be thriving. But it’s now in the building that used to be the Joyous Lake, a popular nightclub for many years. If I still lived there, the mutation of the town would have seemed gradual and not as jarring to me.

But the more things change, the more they stay the same. Skateboarders and a graying, long-haired guitarist were enjoying the warm weather on the Green. People were walking dogs everywhere. And when we stopped at Bread Alone for coffee and pastries, we were glad to see a stream of customers going in and out. A car passed us as we walked on Millstream Road, a cloud of pot smoke mixed with the exhaust. A sign outside of a house advertised “Pet Massages”. That’s always been the spirit of Woodstock to me.

It’s always hardest to see my house, and to walk along the Millstream. I thought of Rasta, and how he’s forever a part of there, as well as forever a part of me. As Ian took some photographs, I asked him to take a surreptitious picture of the house. The wooden railroad tie fence still goes along the edge of the yard. And the dirt driveway and the rustic garage are still there. But the new owners have closed in the front deck, and it completely changes the architectural lines of the house. And they’ve let the rhododendron and azalea bushes grow tall and stalky. Even the number on the mailbox has changed – the residences of Woodstock must have been renumbered, like they were throughout Poughkeepsie several years ago.

As I squinted in the sunlight, I could almost see my house as it was, superimposed over the house as it is now. And I could picture my younger and more idealistic self, writing on the deck, long hair frizzy and pre-dreaded, wearing a rainbow-colored tie-dye and Birkenstocks. If she had looked into the sun at that moment, would she have been able to see through the years, to see me, and know that it was the future me, wistfully looking across the street? She would have probably assumed that I was locked out, but that’s literally true.

And if I could somehow cross the border of time as easily as crossing the street, could I face my past self? What would I say to her? I would tell her that I’m sorry I couldn’t stay in Woodstock, and I would explain why. I would warn her not to trust the seeming stability and security of a marriage contract, because contracts can be broken. I would tell her to gain more independence, with a driver’s license and a private savings account, and to find a better, more lucrative job, while still working on writing dreams, so she would be able to afford to keep the house on her own. Because contentment turned into the emptiness of complacency, instead of the stronghold of self-reliance that I really needed. If my past self had been able to visualize the possibility of being locked out of home, and out of town in the future, things might have turned out very differently, and Ian and I might be living together in my house now.

But time only moves in one direction in this life, so I can’t go back. And I wouldn’t want to go back if it meant revisiting the unhappiness of living with my ex anyway. So instead, I can look to the future and the possibility of living in Woodstock again.

I think I’ve almost convinced Ian that Woodstock would be a good place for him as well as me. There’s a thriving art scene, with CPW, the Woodstock Artists Association, and many galleries in town. And the beauty of the woodsy mountain setting could be very inspiring for his photography. Ian agreed that’s it a beautiful place, when we took a hike along the stream on the Comeau Trails, across from the town hall.

Of course, any move takes a lot of thought and planning. There are things I would do differently this time. I wouldn’t want to have to commute to a job in Poughkeepsie, so I’d want to consider different job possibilities. And Ian would probably want a different job, too. It’s not possible to live in my house again, but we could find and make a new home for ourselves. We would have to rent a place, but I know there are affordable rentals in town. And I was a renter before becoming a homeowner in Woodstock – it was a good way to get a feeling for living there before deciding to buy a home.

I think that living in Woodstock again would help me find the part of myself I’d left behind. I think I’d find some of the happiness and contentment that was left there, too. Living in the right place, that gives a sense of belonging, is important to most people. It would make the right difference in my life. All I know is that I would feel like I’m home again.

And who knows – maybe on another bright sun-filled day in the not-too-far future, I might encounter my past self, on the Village Green or walking along the Millstream. And I know I wouldn’t have to explain anything to her this time.

Except maybe how I did my hair in dreadlocks.

Right About Time - February Shop Talk

Yesterday was my day off, and I devoted it to writing. In the morning, Michelle and I went to SCBWI’s Shop Talk meeting at Barnes & Noble. It was right about time to rejoin the group – I’ve only been to one meeting in the past five months. Granted, they were on hiatus in November and December, because B & N doesn’t host meetings or events during the busy holiday season. And last month I was at the SCBWI writing conference in NYC with Kim. So it’s not as bad as it seems. Still, I’m glad for the motivation and camaraderie of the group each month.

Barbara Wells, the Eastern NY regional director, moderated the discussion. She said that Shop Talk takes the form of the people who are here each time. We had a small but lively group, with regular participants and a few newcomers. Each brought something interesting to the session.

Barbara, Kim and I had all been to the NY conference, and we talked about the positive messages that we took away from the editors’ and agents’ presentations and question and answer sessions. I felt that the editors and agents gave a balance of realism and hope – even though publishers and agencies are economizing and downsizing their staffs and book acquisitions, there is still room and a need for well-written, unique stories that speak to readers. Kim said she heard several editors say that they look for authors who have a distinct voice, and if they feel a connection with an author’s voice, they’ll go out of their way to work with that author, even if the writing isn’t 100% perfect – the writing can always be improved through the editing process. Barbara said the publishing professionals stressed that children’s publishing is still doing well, and it’s helping to maintain the vitality of publishing in general. Even if people are cutting back on expenses, they won’t scrimp on their kids, especially on books for their kids.

The Hudson Valley conference is coming up on June 13th, and Barbara gave us some details about it. The keynote speaker will be Linda Sue Park (www.lindasuepark.com), award-winning author of middle-grade and picture books. I’m familiar with her books – several of her titles are frequently on school summer reading lists, and A Single Shard is in the Newbery Award section of the B & N kids’ department. But I haven’t actually read any of her books yet. But there are a few months before the conference, so I’ll have some time to catch up on them. Archer’s Quest sounds especially interesting – it’s about a modern-day boy who encounters a time-traveling archer from ancient Korea, and tries to help him get back home. Time-travel is one of my favorite topics to read and write about, so I’ll read this one first. I’ll make sure to write my thoughts about it in a future blog when I’m done.

There will be a major change with the manuscript critiques this year. In the past, writers who wanted to have their work critiqued by an editor, agent, or author would first send in the critique fee along with their registration. If they were notified that they got a critique, then they would send in their manuscript as soon as possible. But some applicants sent in their work late, and that made it hard for the conference committee to place the manuscripts with the appropriate readers. (I have to admit I was guilty of that one year, but that was because I was feeling stressed out over some family health problems, and writing deadlines weren’t on my mind then. But even though I sent my manuscript in late, I was matched with an author who gave me some excellent professional feedback, so it worked out well.) But this year, the 15-page manuscript must be sent in along with the critique fee. I do think that’s a good idea, because it will make the critique placement much easier for the conference planners. I think I’ll send in my first chapter of What Luck again and see how it fares this time. Barbara said they will post the registration information on the regional website in the next few weeks. So I’ll be looking out for it.

Roxanne said she’s been submitting pieces to magazines and working on her website, www.roxannewerner.com. I hadn’t checked it out in awhile, but I just looked at it, and I think it’s great. It expresses her creativity well, with bright graphics; links to her favorite writing websites; a list of her published pieces; and samples of a couple of her stories. In her bio, she says she spends her “free time lost in my imagination.” I can relate to that – I’m always daydreaming! Roxanne has also started a blog, www.roxannewerner.spaces.live.com. It’s a nice companion to her website – I read her entries, and now I have to figure out how to add comments on them. I’ve used a computer for nearly 10 years now, but somehow I still feel challenged by the seemingly-simplest things!

Two of the writers in the group shared their picture book manuscripts, and several of us gave them feedback. Jennifer, a 3rd-grade teacher, shared a humorous and cute farm story about a hungry hen that keeps following a little boy as he visits the barnyard animals. She was new to the group – I think it was brave of her to let us hear her work. I’ve been attending the group for nearly two years, and I’ve only read my work once. (But I feel uncomfortable reading my writing aloud to just about everyone.) Shiloh, who was there for the second time, shared her story of a little girl who wants a puppy, and learns about the responsibilities of pet ownership. I enjoyed both stories, and gave a bit of feedback, even though picture books aren’t my forte. Kim, Barbara, Roxanne and Michelle are more familiar with picture book writing, and they all stressed that the best picture books aren’t too descriptive – the illustrator should have some room to add some creative vision to the story. But writing economically, with the right, well-placed words, is the key to good writing, no matter what the age group or genre. I tend to ramble (in talking and writing) so that’s something I want to remember.

After, Michelle and I had lunch with Kim and Roxanne in the café, and continued our writing discussion. And Kim encouraged me to fight the urge to keep rewriting the first part of What Luck and just write a rough draft until it’s finished. She promised to bug me with online messages to help me keep going. I appreciate that – I need to stay on track until the book is finally done! It would be a great accomplishment if I could finish it by the June conference. So that’s my new goal – I hope I make it!

Right About Time - SCBWI NYC Conference 2009

Finally, I have a chance to post about the SCBWI (Society of Children’s Book Writers & Illustrators) conference, on Saturday, January 31 and Sunday, February 1, in New York City. Since then, I’ve felt the challenge of merging my writing life with work, family and other time constraints of daily life. And I’ve been writing and re-writing and re-writing some more, even with this post! But now I feel that it’s good enough to include in this blog. And I feel more motivated to write now, because of the conference. It was right about time to do something positive for my writing, so I’m glad I went – it was an inspiring and memorable weekend.

I took a way-too-early 5:30 am train down to the City on Saturday and Kim, my local SCBWI Shop Talk writing friend, met me at Grand Central Terminal. She’s an ardently talented writer of charming picture books and a spiritual young-adult fantasy novel. She also invents creative, funny acronyms – like the name of our sub-group of Shop Talk writers: C’RAP! That’s Children’s w’Riters Always Procrastinate, but we’re optimistic that someday it will stand for Children’s w’Riters Always Publish! I’m glad Kim convinced me to attend, and that she was my conference buddy. I think we made a great team!

Me and Kim

Kim wrote a great moment-by-moment 4-part blog about the whole weekend on her Live Journal (http://www.kimmiepoppins.livejournal.com). She also documented the entire event with her digital camera, so all photos are credited to her (Kim Sabatini). Thanks, Kim!

Stephen Mooser, the President of SCBWI, welcomed us all, and Executive Director Lin Oliver gave the stats for this year’s conference – it was the second largest NY conference in its 10-year existence, with 1,056 people attending. 890 were women, and 166 were men, from 46 states and 15 countries, and about half are published. It was a bit intimidating for a first-time attendee like me!

The first speaker, Jay Krosoczka (http://www.studiojjk.com/), is an award-winning author/illustrator, of picture books such as Good Night, Monkey Boy and Punk Farm, and an upcoming kids’ graphic novel series, Lunch Lady – she’s really a superhero! Even though I don’t write picture books, I could relate to the theme of his talk – how to keep writing through the many changes of life. Since he was first published in 2001, he got married, bought a house, got a dog, and now has a baby – that’s a lot of changes! Two of his remarks really struck me – “Be patient with your creativity” and “You can’t force your ideas out”. To illustrate that last idea, he showed a clever, funny video, “Book By Book: The Making of a Monkey Man,” (on http://www.vimeo.com/) in which he tries to overcome writers block with the help of some famous names in children’s lit – among them, Mo Willems, Tony Di Terlizzi, John Scieszka, Jane Yolen, and a scene-stealing Tomie dePaola.

Next came the break-out sessions, featuring editors discussing how they work and what they acquire. My first was with Claudia Gabel, who has worked in publishing for ten years, most recently for Delacorte Press, an imprint of Random House Children’s Books. She stressed the importance of having a book with a high-concept idea – something fresh, original, timely, and with a commercial hook. You should be able to pitch your book in attention-getting one or two sentences. I think the books I’m working on right now do have high-concept ideas, so that’s good. She also said that editors hate books that just try to follow a trend – they’re “o.d.-ing on writers trying to capitalize on the Twilight phenomenon.” She said “your job is to write the best book you can write,” and that it’s important to market yourself online. Delacorte Press has yearly first-book contests for young adult and middle-grade novels, when they accept unagented manuscripts. I’ve thought about entering one of my older teen novels in the YA contest – that’s something to consider, but only after I finish What Luck, my novel for younger teens that I'm working on now.

Kathy Dawson, the new Associate Publisher of Dial Books for Young Readers, gave the next break-out talk. She has twenty years of experience in publishing, and edited the books from one of my favorite YA writers, KL Going. She spoke at the Mid-Hudson SCBWI conference two years ago, and also gave an excellent presentation along with KL Going, on the editing process of a novel, from its acceptance to its publication. So I was eager to hear more from her. She said writers should be aware of four points:
1. “Play dumb.” It’s better to want to learn and write what you don’t know instead of following the adage of write what you know. She reads to make a discovery and to see things in a fresh way, and she looks for books that expand our world.
2. “It’s all in the details.” Use detail – all five senses – to reveal characters and how they perceive the world, to advance the plot, and to give your story authenticity and a universal appeal.
3. ARIA – her acronym for Action (proper pacing, writing that moves and doesn’t drag); Rhythm (using cadence, repetition and meter to reveal your voice); Intrigue (mystery or tension in the story to keep the reader turning pages); and Adventure (plotting that has high stakes and feels real to the reader).
4. Truth – An author’s true voice and emotion is powerful and can’t be faked. She looks for relatable characters who look to find themselves and struggle with their own truth. She always turns down trendy and superficial books.
Very compelling points - I’ll keep them in mind to help make my stories better.

Jay Asher, whose first novel, Thirteen Reasons Why, was a New York Times bestseller and won several awards and honors, was the luncheon keynote speaker. His talk was so inspiring – he spoke of his growth as a writer, from doing comics at age thirteen, to reviewing Vanilla Ice for his high-school paper, to writing funny picture books for his college children’s lit class. He liked funny books so he wanted to write funny books, but “sometimes what you like to read isn’t what you’re good at writing.” That remark stood out to me – some of my favorite books are so amazing and so different from what I write, but I’ve grown to appreciate my own voice and writing style. He started submitting his books in 1994, but ultimately it took twelve years, eight years of SCBWI conferences, four different agents, several projects that fell through, and a moment when he considered giving up (his wife convinced him to not quit) until his young adult novel got published in 2006.
I read Thirteen Reasons Why this past summer, and thought the story was unique and excellent. Clay is one of thirteen classmates to receive a beyond-the-grave message from Hannah, who recently killed herself – cassette tapes on which she recorded thirteen reasons why she felt driven to take her life. The narrative voice alternates between Hannah’s recording and Clay as he’s listening. What could have been a depressing story actually has an uplifting message – “everything affects everything” – that has inspired readers to be more thoughtful and kinder to others. I think Jay Asher and his book deserve all the accolades they’ve got. (http://www.thirteenreasonswhy.com/)
Jay’s final, inspiring advice to us was, be honest with your readers. Never let go of your dreams. And hold on – it’s going to be a bumpy ride.

The last breakout session of the day was with Scholastic Press editor Jennifer Rees. She edits young adult and middle-grade books and looks for ten things:
1. A distinctive voice – that’s the story’s hook, don’t hold back on it.
2. Memorable, real, believable characters that she and readers will feel connected to.
3. Something that aims to set its own trend, and doesn’t follow existing big trends like “the next Twilight.”
4. An unpredictable story, to keep the reader guessing, surprised and turning pages.
5. A fresh, unique, not-easy-to-categorize story.
6. Writing that takes risks and doesn’t play it safe.
7. Lyrical writing, with language that’s not flowery but sings.
8. A professional package, with a readable manuscript, a one-page cover letter and a SASE (self-addressed, stamped envelope) for a reply.
9. A writer who knows the market, does research in the different genres of children’s lit, and reads widely and often.
10. A manuscript that’s a good match for Scholastic – it’s important to research the company and its catalogs.
11. She threw in a bonus point – Writing that satisfies your inner child, because then it will satisfy hers.
She gave a lot of good information to think about and remember, and also these words to write by: she always looks to publish a book “that will become bigger than itself; that will be read and passed around and loved for years.”

Richard Jackson, a 46-year publishing veteran of Bradbury Press; Orchard Books; DK, Inc.; and currently Richard Jackson Books, an imprint of Simon & Schuster Atheneum Books for Young Readers, gave the final speech of the day. He’s discovered writers such as Judy Blume, Paula Fox, and Virginia Hamilton, and the books he’s published have won numerous Newbery, Caldecott, Coretta Scott King and National Book Awards. He eloquently stated, “if you summon it by words, it will come.” He used some upcoming titles as examples, with illustrations on the big screens. Moonshot: the Flight of Apollo 11, his 2009 title, is a non-fiction picture book written and illustrated by Brian Floca. It brings the 1969 moon landing to life and encourages kids to imagine it. Black Crow, due out in 2010, by Chris Roscha, has strikingly beautiful watercolor illustrations (they reminded me of Japanese ink paintings) and rhyming words that tell of a boy who first observes a crow, then starts to think and wonder if the crow sees him. “It haunted me,” Jackson said. He also told us that there is no one sharing our particular imagination, but the world may share in it through our efforts – moving and inspiring words.

Afterwards, during a wine and cheese networking hour, Kim introduced me to several of her writing friends – some she knows from the Verla Kay children’s writers’ message boards, and some she met at the recent conference at Rutgers. Everyone was super nice and interesting. That’s another reason why I’m glad Kim was my conference buddy – even though people say I’m outgoing, I’m a wallflower compared to her infectious, enthusiastic and friendly personality!She helped make meeting people easy and fun.

Kim with Jeff.

Kim with Allan – they found out they share the same
birthday, one year apart!

Allan, me, Jessie, Justin and Gina

We heard that an agent, Scott Treimel, showed up and was willing to hear and give feedback on story pitches from conference attendants. I didn’t feel that I had a good pitch ready, but Kim wanted to speak to him, so we waited on a long, long line for a long, long time! We got to meet more great people on the line, and then we saw Allan sitting and talking with…Jay Asher. It didn’t seem like anyone else realized that one of the featured authors was in our midst – Jay was just hanging out and being low-key friendly. So while Kim gave her pitch I went over and told Jay how much I liked his book and that I was inspired by his talk, because I’ve been a so-far unpublished writer for years. Kim joined us, and we all talked with him while Allan waited to pitch the agent.

I’ve met dozens of authors while working B & N events, and also at our local SCBWI conference. 99 % of them have been great, and some have really stood out, spending much of their time talking with readers while signing books for them. If I like a writer’s books and he/she turns out to be a really great person too, it makes me even more of a fan, and I work even harder at handselling the author’s titles. So now I can add Jay Asher to that group of outstanding authors. He was so cool and down-to-earth, and very generous to spend his after-hours time hanging out with us – he even went to dinner with our group, to an Irish pub across the street from Grand Central. If/when I ever get published, I want to always be able to make that kind of personal connection with readers.

Justin, Allan, me, Jay, Kim and David at Grand Central

After a long and eventful day, Kim and I went back to the hotel room. She’d generously invited me to be her roommate, and we stayed up talking excitedly like two thirteen-year-olds at a slumber party. She also helped me work out my ending for What Luck. Thanks, Kim – your name will be in my acknowledgements, if (when!) I ever get it published!

Sunday morning came too early, but although we were tired we looked forward to another creatively energizing day. The first speaker was Bruce Hale (http://www.brucehale.com/), author of humorous middle-grade books, such as the Chet Gecko mystery series. He even serenaded us with a song, “Nature Boy,” made famous by Nat King Cole, and more recently featured in the movie Moulin Rouge.

With the lyric, “the greatest thing you’ll ever learn is just to love and be loved in return,” he reminded us to remember the love in creating, and to always find the heart in each story. And even though the books I write are for older readers than his age group of 8 – 12, I got a lot from his advice, especially: to remind your readers of the beauty amidst the ugliness of the world; to add humor, even to serious books; and to tell the truth, because “kids have a built-in b.s. detector” – we need to acknowledge life’s problems but let them know that hope triumphs over despair. And to write what you love – if you put your heart in your writing, readers will love it in return.
He told us that he had 8 ½ years of rejections, and that he found his agent in 1999 at an SCBWI conference. I’m sure most of us felt hopeful after hearing that!

I remembered that hope while listening to the realistic and informative agent’s panel discussion. Lin Oliver moderated the four agents – Michael Stearns, a 20-year veteran of kids’ books who now is with the 3-year-old Firebrand agency; Alyssa Eisner Henkin, who joined the Trident agency after seven years as an editor at Simon & Schuster; Michael Bourett, who has worked for nine years at Dystel & Goderich and is now their VP; and Edward Necarsulmer IV, who has worked for several agencies and for the past five years has been with the 80-year-old McIntosh & Otis, Inc.
All of the agents seemed to be on the same page regarding the state of publishing in this economy. Yes, there have been layoffs, less acquisitions, and less huge advances for unproven writers than in the past. But agents advocate for writers, and it’s good to have an agent in these times. Agents look to build a relationship with an author, so it’s important to find the one who’s the best match for you – take some time to research their line. An agent should always look to build your career, not just to find a one-hit wonder. They understand that most writers do multiple submissions, especially since it takes time to read through and respond to the many manuscripts and queries they receive, but all said full disclosure is the most important thing – just be honest and let them know. The final advice was to just keep writing, and have hope when looking toward the future.

Next, Lin Oliver introduced the premiere of the first two DVDs in SCBWI’s Master Class series, available at the conference and on SCBWI’s website (http://www.scbwi.org/). They showed segments of each DVD – I think they’re very well done. The illustration Master Class features Tomie dePaola, who unfortunately couldn’t attend the conference due to illness. But he was feeling well enough to phone in from New Hampshire. It was so cool that he could connect with us all that way – technology is amazing!

Lin Oliver with Richard Peck

The writing Master Class features Richard Peck, and it was an honor to hear him speak. He’s had over 40 books published since he started in 1970, and has won many awards and honors. I’ve read most of his books, beginning with Don't Look and it Won't Hurt, when I was around nine years old. So many of his remarks have stayed in my mind. Writers gather together because no one else understands. Writers raise questions that schools no longer raise. He believes that if you can’t find yourself on the page in early life, you’ll look for yourself in all the wrong places. Writing is the craft of listening – he’s carved a career from other people’s stories. We hunt and gather, we write what we want to find out, we research and learn. “We pass along the story, as civilizations rise and fall.” Wow, great words and ideas to remember.

Then Lin Oliver said that he wrote that speech just the day before. That’s just amazing.

Even more amazing was the fact that the closing keynote speaker, Jack Gantos (http://www.jackgantos.com/), flew in from Zurich, Switzerland, where he was just the day before. He was a last-minute replacement for Julius Lester, who couldn’t make the conference due to illness. That was a surprise to me – I didn’t know Jack Gantos would be a speaker until I saw stacks of his books in the SCBWI bookstore, and Kim said she’d gotten an email from SCBWI saying that he would be there. Right away, I felt awful, because I wished Michelle could have been there – Jack Gantos is her favorite writer, and her main inspiration for children’s books. But she has fibromyalgia, and with the chronic pain and fatigue, there was no way she could have made it to a 2-day conference in NYC. So I really hoped I could meet him and tell him about Michelle.
Jack Gantos’ speech was so great, and he said he wrote it that morning – another amazing thing. He said that as writers we have more in common than not in common. He said that anyone can write the first chapter of a novel, but "it’s the thirteenth chapter that’s vicious." I could relate to that, since I have many so-far-unfinished novels in the works. Whenever he has a moment of crisis when he asks himself why he’s doing this, he remembers how he loved books as a reader. He took us through the life of a reader, from board books to picture books to chapter books to young adult and up. “You go into the library as a kid and say, I own all these books!” When he finishes a book, he closes his eyes and lets the story and characters come back to him – as the character changes, he changes too. “The book goes into the library of your mind.” The books you love define the humanity in yourself – that’s why you write.
At the end, he said to write the best you can do and be happy with it. Write the book you love – if you don’t love it, the reader won’t. And write the book to add to the history of great books. Inspiring and uplifting words – a great way to end a great conference.

After, Kim and I headed to the bookstore area, and the author book-signing.

We told Jay Asher that we hoped he had as much fun hanging out the night before as we did! I’m so glad to have a signed copy of Thirteen Reasons Why for my shelves, and I’m looking forward to his next book. I'm sure it will be just as awesome.

Richard Peck signed his short-story collection, Past Perfect, Present Tense for me, and I told him how honored I felt to hear him speak, because I’ve been reading his books since they first came out in 1970. He said that I embody his whole career! What a gracious gentleman he is – I can see why Kim has such a “crush” on him!

I have to include Kim giving him a big hug of gratitude (and a kiss, off-camera!)

As Jack Gantos signed my copy of his autobiography, Hole in my Life, I thanked him for his inspiring talk. Then I asked him to sign some books I’d gotten for Michelle, and I told him about her and said that although she has an illness that prevented her from being there, she would want him to know that he’s her favorite author of all time, and that his writing inspired her to write kids’ books. I said that she had done an e-mail interview with him a couple of years ago for her online children’s magazine, Whimsy, and he smiled and said he remembered it! I told him I hoped he will speak at our Mid-Hudson SCBWI conference in Poughkeepsie some time, and he said he’s familiar with Poughkeepsie and has visited before. So who knows, maybe that wish will come true…!

Kim and I with Jarrett Krosoczka – he signed Punk Farm for her three little boys, who play that they’re in a “band” called the Sabatini Brothers!

We had pizza and a great writing conversation with Jeff and Allan at Two Boots in Grand Central Terminal and then took the Hudson Line back home. I looked over Kim’s synopsis of her novel, Touching the Surface, and gave her some feedback – I hope I was as helpful to her as she was to me. We set new writing, editing, and submission goals for ourselves, and as she got off two stops before me, we promised to keep cheering each other on.

It was hard for me to leave NYC and the inspiration and excitement of the conference, but now I’m looking ahead to our local Mid-Hudson SCBWI conference in June. And I have a goal to finish a draft of What Luck, in three months. So now, back to more writing – and rewriting, and rewriting….