24 Carrot Writing

5 Ways Training for a Marathon & Writing a Book Are the Same

3/25/2019

Guest Post by Kim Chaffee

Warrior is my word of the year. I love how it makes me feel just thinking about it. Strong. Courageous. Unbreakable. Warriors do hard things like train for marathons and write books. You heard me correctly. I am likening training for a marathon to writing books. I am currently doing both of those things so I can say that with some authority.

If you write books, then you my friend are a warrior. Here are five reasons why:

1. Getting started is sometimes the hardest part.

I saw a shirt on Etsy the other day that read, “Kinda want to go for a run…kinda want to stay in bed.” Ummm, yes. I simultaneously thought, who is reading my mind and I’ll take a dozen please. Procrastinate, overthink, overanalyze: This is what I do before stepping out for the day’s training run. Why do I do this? Because I know that I have 4 miles or 8 miles or 10 miles to run that day. That’s far when you haven’t even walked to the kitchen for your morning cup of joe.

The same is true in writing. Staring at the blank page or screen in front of you is daunting. I have to create a whole story from nothing? People who tell you writing is easy are liars. Straight up. Writing is hard. But that’s okay because you can do hard things. If you’re a pantser then let the words start flowing. If you’re a plotter, then build your character or your plot or your title. Just start! Once you get going, you’ll be closer to that finished first draft then you ever have been.

2. It’s a huge mental game.

I can’t do this. This is too hard. You should just stop here…no one would fault you for stopping here…the shame of giving up will go away eventually. So many times, thoughts like these have tried to get me to throw in the towel, to quit on my goal. The mental struggle is real.

The same is true in writing. I’ll never publish as many books as X. This story is total garbage. Sure, I have one book published but I got lucky…everyone will know it was a fluke…I am a terrible writer. These are thoughts that all writers have. There’s even a word for it- imposter syndrome. And there are very successful authors that still battle with it despite success. But you can’t give in. Instead, try changing your mindset. Realize that you are thinking and feeling these things because you are pushing yourself outside your comfort zone. Congratulations! You are now in the space where you are growing as a writer! You’re doing exactly what you need to do to make your dreams happen! So keep going.

3. You won’t be ready overnight and that’s okay.

As I write this, I’m at the point in my training where I just started to run distances I’ve never run before. Last weekend was my first 15-mile run ever. I won’t lie. It was hard. So hard that instead of rejoicing that I had just run 15 miles, I worried about the 11 miles that I would eventually need to tack on. Yikes. Maybe I can’t do this. That thought actually entered my brain. It took a good twenty-four hours before I had my Oprah like, lightbulb moment…the marathon isn’t tomorrow. It’s not next week or even next month (at this point). I don’t need to add on those 11 miles for another two months. I’ll do it slowly and gradually. It’s okay that I’m not there yet.

The same is true in writing. The very first story you write probably won’t be the first story you sell. And that’s okay. No one wakes up, writes a story and sells it in “a very good deal” right out of the gate. Take classes, expand your knowledge of the genre you write, put in the time to write lots and lots of stories. Your book doesn’t have to sell tomorrow or next week or even next month. Be gracious with yourself if you are not yet where you want to be on your publishing journey. Just keep putting one word after another.

4. It takes a village.

On race day, it’s true that I, alone, will be the one at the start line. I, alone, will be the one running from Hopkinton to Boston. But there’s no way I will even make it that far without the support of so many. The family members that check in to see how far I ran today. The running friends that join me for some miles to keep me going and cheer me on. The loved ones that gently remind me that refueling your body with cookies and little chocolate candies (again) probably isn’t the best choice. I’m grateful for them all.

The same is true in writing. You, alone, will query the agents and editors. You, alone, will field “the call” when the moment arrives. But a critique group of fellow writers to share your work with, an agent who helps submit your story to closed publishing houses, an editor who molds and polishes your story, an illustrator who brings your words to life. They truly are the village behind every published book. Find yours.

5. There will be bad days.

Sometimes there are days when my legs feel like lead and it takes everything in me to get through the miles. Those days are hard. But I try to remind myself of that beautiful truth revealed in the ever-insightful movie, Inside Out. In order to feel joy, we must understand what it feels like to experience sadness. I fight through hard days so I know how amazing it is to have great ones.

The same is true in writing. Rejections happen. Writer’s block happens. Opening up the Publisher’s Weekly Right’s Report and learning that your book has already been written and sold… in a multi-house auction, happens. It hurts. Lean in to the hurt. Don’t shove it aside and pretend it’s not there. Feel it. But don’t wallow there. Feel it and move forward. That is where warriors are born. And you are a warrior.

Kim Chaffee is the author of Her Fearless Run: Kathrine Switzer's Historic Boston Marathon, illustrated by Ellen Rooney (Page Street Kids, April, 2019) and Nothing Wee About Me!, illustrated by Laura Bobbiesi (Page Street Kids, November 2019). Kim is an avid runner and former second grade teacher. To learn more about Kim, visit her website at www.kimchaffee.com/.

Use the links below to order the Kirkus starred, Her Fearless Run: Kathrine Switzer's Historic Boston Marathon.

www.barnesandnoble.com/w/her-fearless-run-kim-chaffee/1128573183

www.indiebound.org/search/book?keys=her+fearless+run

You can also visit Goodreads to put Nothing Wee About Me! on your "want to read" shelf. www.goodreads.com/book/show/41150313-nothing-wee-about-me?from_search=true

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INTERNAL STRUCTURE - Part III: When Structure is More than a Skeleton

3/19/2019

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~by Amanda Smith

Over the last two weeks we have looked at linear and circular story structures, and ways in which we can jazz up these basic structures. In some books, though, structure transcends itself. It becomes more that the skeleton on which the story hangs. Structure becomes meaning.

In these kinds of books, the author adds an extra layer that lies, like some magical being, just beneath the surface of the story. It piques the curiosity in advanced readers to dig deeper. And once it is uncovered, it contributes to a deeper understanding of the text and a more exciting read.

This “form has meaning” internal structure is most evident in novels in verse, such as Solo by Kwame Alexander or The Poet X by Elizabeth Acevedo. The Poet X is written in three parts that distinctly highlights sections of the main character's struggle to find her voice. Xiomara’s way to her voice takes on an internal journey (circular) structure, but each part is titled by a quote from scripture that applies to Xiomara’s experiences, awareness, and growth within that part, thus structure equals meaning. Examples where form echoes meaning are the poems in which she argues with her mother, where the two voices are in two languages, or where her mother argues with biblical quotes that she answers with her poetry, as well as the assignment pieces Xiomara writes for her English class. She writes “What I wanted to say” – her true voice – in poetry. But “What I actually said” is in prose, an symbol of her constricted voice.

Structure as meaning is not exclusively reserved for novels in verse. In Still a Work in Progress, by Jo Knowles, the chapter headings are requests found in the school’s suggestion box. They provide comic relief, shines a light on the setting and characters, and acts as the backbone of the story. Initially the headings are silly and lighthearted, but towards the end of the novel, they become sincere and encouraging, telling their own story of growth and development within the student body, and also highlighting the emotional arc of the main character. Two chapters do not have headings. These chapters take place when the main character is not at school, and therefore wouldn’t have known the suggestions placed in the box. This detailed attention to structure lets the reader know that the headings are not just there, but should be further inspected to find the underlying treasure.

Gary Schmidt builds Wednesday’s Wars around the plays of Shakespeare, and Okay for Now around Audubon’s Book of Birds. Neither one of these topics are at the core of the story, but the plays and the bird images help reveal character growth, add levels of symbolism, and provide a solid structure around which the plot is shaped.

In Okay for Now the metaphor of Audubon’s birds is used as an organizing thematic pattern. Not only does the reader have images of the birds at the beginning of each chapter that create a circle structure beginning and ending with the Arctic Tern, but also the book is saturated with imagery. The author uses the bird imagery in structure and story arc. The main character recognizes the imagery in the bird pictures and keeps drawing metaphors from his study of these paintings. Thus, the reader enjoys layers of metaphors, created both by narrative and structure, which leads to multiple levels of understanding and immense depth of meaning.

Mary’s Monster, Lita Judge’s biography of Mary Shelley, is one of those books where, at first glance, the structure seems like a purely practical choice, but once a reader looks deeper, the structure adds meaning to the content. Using three distinct voices in three different fonts, Judge mirrored the three voices in Mary Shelley’s Frankenstein’s Monster. Judge’s book is also presented in nine parts, echoing the nine months it took Shelley to write her novel. At the beginning of each part, Judge uses quotes that is relevant to that section, and her artwork at the end of each of the nine parts acts as a full stop. It is a snapshot of that moment in Shelley’s life, a moment for the reader to take a breath, and an indication that something is about to change. Lita Judge’s novel invites curious readers to investigate, and they will not be disappointed at the layers of meaning and symbolism buried in the structure.

The structure of The Inquisitor’s Tale (Or Three Children and Their Holy Dog) by Adam Gidwitz mirrors medieval texts, such as Canterbury Tales. In this book the structure supports the medieval setting, educates readers about medieval texts, but also provides opportunity for multiple narrators in a way that is accessible to young children.

Meaning in structure is also attainable in picture books. In 2015 Caldecott Medal winner Beekle, author-illustrator Dan Santat uses the whole book’s physical structure to deliver the full message. On the front end-papers the reader sees many children with their imaginary friends. Each child-imaginary friend duo has their thing they do together – their purpose. But Beekle, centered on the right-hand page, stands alone. When we get to the last full-spread of the book, we find Alice and Beekle surrounded by drawings of their adventures. These drawings are images from the book we are holding in our hands. On the back end-papers, Beekle and Alice appear together in the center between all the other children and their imaginary friends, holding the book Beekle. Making this book was their purpose. The structure of the book echoes the meaning of the book that is about the making of this book.

2018 Caldecott winner Wolf in the Snow by Matthew Cordell has a mirroring circular structure. The wolves’ journey mirrors the girl’s. This mirroring reflects the theme that we are the same, and have the same basic needs, regardless our appearance. The story structure is echoed in the circle motif of some of the illustrations.

In Drawn Together, written by Minh Lê and illustrated by Dan Santat, structure contributes to the readers understanding of the relationship between grandfather and grandson. Initially the illustrations are in frames, like a comic book, alluding to the boxed-in, restricted relationship between the two characters.

As they find common ground, the frames disappear and the images are full of detail, color and movement. When the distance between them resurfaces, they are back in the frames, until they use their new tools to break out together in spectacular fashion, revealing the spread with the most movement and color.

As a graphic memoir, Hey Kiddo, by Jarrett J. Krosoczka, has a chronological, linear structure. The art is the simple line drawings we’ve come to love in books like Lunch Lady or Jedi Academy, but the muted color palette communicates to the reader that the subject matter is not light. Each chapter kicks off with a spread that uses Jarrett’s grandmother’s kitchen wallpaper as a background. Collaged on this pineapple wallpaper are mementos from his youth: letters from his mother, invitations, photographs and artwork from his childhood. The juxtaposition between the comic-style drawings and the real-life artifacts is a powerful reminder that what the reader encounters, really happened, and that one can overcome hardship with perseverance, humor and love.

When I encounter books like these, I often wonder about the author’s process. At what point in the writing did structure become meaning? I have had the privilege to ask both Kate Messner and Gary Schmidt this question. For both of them, the focus on meaningful structure happens after the first draft. Gary said that once he has the story on paper, he looks for the recurring themes, or objects, and then delves deep into that to make the most of it. Kate said, “ Mostly, those kinds of threads appear as I’m writing, and then I go back and strengthen them during the revision process.”

As you read mentor texts for research, pay attention to the internal structure. Is it simply a skeleton? Or does the structure contribute to meaning? And as you plot your own work, take some time to consider the backbone of your story, and whether your structure can be purposeful in more than one way. What suits your story best? What can you tease out or build upon to give your WIP an additional layer of meaning for those analytical readers?

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INTERNAL STRUCTURE - Part II: Circular Structure

3/18/2019

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~ by Amanda Smith

Last week we looked at the importance of strong internal structure and the role it plays in assisting readers to decode a text. We focused on linear structure. If you missed the post, you may access it here. This week we’ll be taking a look at circular internal structure as well as ways to add interest to structure.

In books with a circular structure, the characters find themselves in the same space, whether externally or internally, in the end of the story as in the beginning. Circular structure is satisfying to readers. It offers complete closure and provides opportunity for the reader to compare, contrast, and consider the growth and change that happened within the full circle.

A picture book example of circular structure is The Dot by Peter Reynolds. When Vashti’s own words are spoken back to her, her response drives home her growth. In A Mango Shaped Space by Wendy Mass (MG), the circular structure is evident in the main character’s synesthesia being present, being lost, being regained; the coming and going of cats; and a full-circle moment with her grandfather’s painting. I like to think of circular structure as a book hug. All the story elements are gathered together and complete, leaving the reader feeling fulfilled and loved.

Quest or journey books traditionally have circular structures. Characters are home, they voyage, they return home. Jessie Sima’s charming picture book Love, Z, is an excellent introduction to a quest book, where the main character undergoes both a physical and internal quest. Series such as Beyonders by Brandon Mull and Brotherband by John Flannigan, and stand-alones such as The Emperor’s Ostrich by Julie Berry are examples of MG and YA quest books.

Circular structure comes in many variations, preventing these types of books from becoming predictable.
In Be Kind by Pat Zietlow Miller the circle expands to the universal, but contracts back to the main character in end.

Sometimes the circle is ascending, almost like a loop-de-loop on a roller coaster. The character meets his full circle face on, and shoots past it, in a display of tremendous character growth and victory. After the Fall by Dan Santat and Drawn Together by Minh Lê are examples of this kind of uplifting, feel-good structure.

Mystery or suspense novels have a spiral structure where each clue or fact circles the main character closer to the solution.

A book can also contain multiple smaller circles within a bigger linear or circular structure, where subplots form mini-circles, or the main character has several circle-moments.

Ways to enhance simple structures:

Other structural elements can be added to basic linear and circular structures to provide interest.

Younger readers, and picture book audiences, find comfort in repetition. Repetition gives readers some control over the text, the ability to make informed predictions, and a sense of what is important. Repetition can be bold, like an echoing phrase, a similar pattern repeated, or in dialogue. But it can also be subtle, hidden within the way a series of actions repeat, or within lists that progress in similar fashion, or even within the rhythm of words. All these known elements in different circumstances, are familiar, comfortable places for young readers - places to rest and gather thoughts before the next intense moment.

Before you Sleep by Annie Cronin Romano, walks through the five senses in a linear way (and the illustrations show the four seasons), but the chorus repeating at the end of each sense’s section gives readers and listeners a clue that they are transitioning.

In picture books, repetition can also be present in the illustrations. In But the Bear Came Back by Tammi Sauer, images of and allusions to the bear are present throughout the book, even when the bear is absent.

In longer works repetition can appear in the form of themes, objects, or games, and sometimes a character has a saying or mantra that repeats. Even though the structure in The Seventh Wish (MG) is linear, Messner enhances the structure, and builds tension, with the Serenity Prayer repeatedly appearing in snippets and in full throughout the novel. It acts like a little red flag to readers, saying, “Pay attention!” and contributes to the main character’s development.

Cumulative structure, where the narrative builds upon itself, adds silliness or tension. Classic examples of stories with cumulative structure are There was an Old Lady who Swallowed a Fly or The House that Jack Built, and more current examples are You must Bring a Hat by Simon Phillip, Stuck by Oliver Jeffreys and The Red Sled by Lita Judge. Cause and effect books (If you give a Mouse a Cookie by Laura Numeroff) also fall under this umbrella.

The Epic Adventures of Huggie and Stick (PB) by Drew Daywalt is a parallel journey, told by two narrators with very different points of view, creating two parallel circles. With parallel linear structure, like in Dear Dragon by Josh Funk, the same timeline is followed independently by two characters.

Both the above-mentioned picture books also employ different types of text. Dear Dragon is epistolary, while The Epic Adventures of Huggie and Stick is conveyed through diary entries. Unconventional texts such as letters, sticky notes and emails (Everything, Everything (YA) by Nicola Yoon), text messages, letters, newspaper articles, and poems (Breakout (MG) by Kate Messner), are all ways to jazz up basic linear or circular structures.

Bodies need strong frameworks to function properly. In the same way an author has to construct a story around a solid structure to keep readers anchored. Once the structure is sound, the other elements do not distract, but rather contribute to the structure.

What type of basic structure suits your WIP the best? Once you have settled on a basic structure, can you use one or more of the other elements to add texture?

Be sure to come back next week when we will look at books where structure also denotes meaning.

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INTERNAL STRUCTURE - Part I: Linear Structure

3/11/2019

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~ by Amanda Smith

When I taught elementary and middle school science there would always be a place in the school-year where I would ask something like this: What is the function of the skeletal system? What would you look like if you had no bones? Inevitably, there would always be one student who said, “Like a blob.” Just as our skeletal system provides structural support for the entire body, and, along with muscles, enables movement, stories also need bones in order to not be “blobs” of words.

Over the next three weeks we will take a deep delve into story structure. We’ll look at basic story structures, ways to use structure to add interest, and ways in which structure itself can create meaning. In The Magic Words, Cheryl B. Klein states, “Plot is simply the selection of events and structure in which these events unfold to create the desired emotional effects.” My hope is that by the end of this series, we will all have a better understanding of structure, and will give our story skeletons as much thought as we give plot development or character building.

Basic story structures include linear and circular. There are elements that can be incorporated to both these structures to add depth, teach concepts, or reassure readers. As those who write for emerging readers, we should also be aware that internal structure provides “coat hooks” or place markers for students to gather their thoughts and make necessary connections. When our stories have well-built structures, they offer support for young readers to navigate a text.

Let’s take a look at linear structure. Linear structure is the most common internal structure used by story tellers. It is how we teach young writers to write. A story must have a beginning, middle, and end; and as writers mature, we teach them the story arc.

Usually linear structure is connected to a timeline. The passage of time in a story can be brief, like in most picture books. However, a short timeline doesn’t necessarily imply a short text. The action in the middle grade novel Miss Bixby’s Last Day by John David Anderson mostly takes place over the course of one day. Periodic time stamps and other time references help establish the structure. The YA novel Read Between the Lines by Jo Knowles is also set in a single day, with time stamps at the start of each chapter.

The internal structure of Wonder by R.J. Palacio is stretched over the school year. References to holidays and typical school calendar activities provide the skeleton for the story. Books with a linear structure can also be built around specific holidays, sporting events, competitions, or life-events. The autobiographical graphic novel Smile by Reina Telgemeier takes place over many years, yet its linear structure follows the author’s childhood dental injury and recovery.

Sequence of events or lists are also ways to create linear internal structure. In The Seventh Wish by Kate Messner (MG) the title reveals that the reader can expect a series of wishes and consequences. In a novel that deals with heavy subject matter, as well as multiple subplots, the rhythm of the seven wishes creates order. The BFF Bucket List by Dee Romito (MG) is another book where a list is provided early on in the narration. The reader has the expectation that everything on the list will be covered in the novel, and that structure helps the reader make predictions and eases the reader through the story.

Romance novels also typically follow a linear structure. There is the introduction of the main characters and growing friendship, the fall-out, and the happily ever after (or not).

In concept books, linear structure often helps to teach the reader something specific. Alphabet books such as Z is for Moose by Kelly Bingham, number books like There’s a Dinosaur on the Thirteenth Floor by Wade Bradford, days of the week books like The Very Hungry Caterpillar by Eric Carle and season books, like Goodbye Summer, Hello Autumn by Kenard Pak are linear by nature of their subject.

Retellings, fractured fairy tales and nursery rhymes typically have linear structure. As the new story is based on the structure of the old, familiarity with the original texts help readers navigate the new. Interstellar Cinderella by Deborah Underwood (PB) and Well, That Was Awkward by Rachel Vail (MG, based on Cyrano De Bergerac) are examples.

Linear structure is helpful, especially to emerging readers, because it connects text with familiar timelines and provides them road markers as they experience a story. In picture books, linear structure can also help reinforce concepts under the cover of a fun story.

Next week we will look at circular structure as well as ways in which linear and circular structures can be made more interesting. As you read this week, consider the internal structure of your reading material. What provides shape under the surface to help you make sense of the story, characters and emotions?

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A Novelist's Reading Challenge for National Reading Month

2/26/2019

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by Francine Puckly

Reading is one of the best ways a writer can improve one’s craft as well as stay current on the books being published each year, and March is National Reading Month! Each year I get caught up in the buzz for National Reading Month and, more recently, the ReFoReMo Challenge (Reading For Research Month) which runs throughout the month of March. Founded in 2015 by Carrie Charley Brown (and co-coordinated with Kirsti Call), it is designed to help picture book writers improve their own writing by reading and researching mentor texts. If you’re a picture book writer or illustrator, don’t miss out! (Register for the ReFoReMo Challenge.)

But I’m a novelist…

Each year I say I’m going to challenge myself to do a modified version of ReFoReMo as a novelist, but without anyone to hold me accountable, I usually fall off within the first week. So this year I’ve decided to share my weekly challenges in hopes that other novelists out there might join me in reading mentor texts. (Oh, and hold me accountable!)

March 4 – 8, 2019: Week #1 – The Old Standbys Week
The week’s assignments focus on your favorite novels. Any favorite novels.

Assignment #1:
Each day, select ten favorite novels (any audience, any genre) from your home bookshelves, local library, or bookstore. Read the first 1-2 sentences only. Each day select 2-3 novels that had the best opening lines. Next, read the first two-three pages of the novels with the best opening lines. How did each author choose to begin the story? Which specific words or turns of phrase pulled you into the story? How did the author introduce character and setting? How did the author set the emotional tone for the story?

Assignment #2:
At the end of the week, pick five overall “winners” for first lines and/or opening pages. Consider the entire novels. Do the novels live up to their first lines?

March 11 – 15, 2019: Week #2 – Intended Audience Week
This week’s assignments focus on writing for your intended audience, whether that’s middle grade, young adult, women’s fiction, adult fiction, etc. You can select books from any genre (SciFi, Fantasy, Contemporary, etc.).

Assignment #1:
Select 10-20 novels written for your intended audience and read the opening 2-3 pages for each novel. (This is easily done at your library or local bookstore. Just grab ten books from the shelves, plop down on the floor, and immerse yourself in first pages!) Assess the books with the same questions from last week: How did each author choose to begin the story? Which specific words or turns of phrase pulled you into the story? How did the author introduce character and setting? How did the author set the emotional tone for the story?

Assignment #2:
Read one book written for your intended audience that has been published in the last six months. How did the author set up the problem of the novel? Consider how the author built tension to the climax and notice any "resting periods" in the plot and tension. Notice the times when you just can't put the book down and notice times when you are growing tired with description or plot and are tempted to put the book down. Does the novel's ending fit with the book's promise at the beginning? Looking back, can you see how the author established the inevitable ending in the first few pages/chapters of the story?

March 18 – 22, 2019: Week #3 – Intended Genre Week
This week’s assignments focus on writing for your intended audience and genre (e.g. MG contemporary, YA historical, YA fantasy, etc.)

Assignment #1:
Select 10-20 novels written for your intended audience and genre. Read the opening 2-3 pages for each novel. Assess the books with the same questions from prior weeks: How did each author choose to begin the story? Which specific words or turns of phrase pulled you into the story? How did the author introduce character and setting? How did the author set the emotional tone for the story?

Assignment #2:
Read one book written for your intended audience and genre that has been published in the last six months.
Assess the books with the same questions from last week: How did the author set up the problem of the novel? Consider how the author built tension to the climax and notice any "resting periods" in the plot and tension. Notice the times when you just can't put the book down and notice times when you are growing tired with description or plot and are tempted to put the book down. Does the novel's ending fit with the book's promise at the beginning? Looking back, can you see how the author established the inevitable ending in the first few pages/chapters of the story?

March 25 – 29, 2019: Week #4 – I’m-Too-Scared-to-Write-It Genre Week
I devour historical fiction as a reader, but I declared early on that I would never, ever write it. (Guess who has a rough first draft of a YA historical novel sitting on her computer?)

Assignment #1:
Select 10-20 novels written in your I’m-Too-Scared-to-Write-It genre. Read the opening 2-3 pages for each novel. Assess the books with the same questions from prior weeks: How did each author choose to begin the story? Which specific words or turns of phrase pulled you into the story? How did the author introduce character and setting? How did the author set the emotional tone for the story?

Assignment #2:
Read one book written in your I’m-Too-Scared-to-Write-It genre that has been published in the last six months.
Assess the books with the same questions from the prior week: How did the author set up the problem of the novel? Consider how the author built tension to the climax and notice any "resting periods" in the plot and tension. Notice the times when you just can't put the book down and notice times when you are growing tired with description or plot and are tempted to put the book down. Does the novel's ending fit with the book's promise at the beginning? Looking back, can you see how the author established the inevitable ending in the first few pages/chapters of the story?

It's important to read a large volume of work within and outside of our genres. Studying successful authors' writing styles can often highlight the elements we are neglecting or maybe just haven't quite polished in our own drafts yet. This is less about negative comparison ("I'll never be able to write like Kate DiCamilla!") and about absorbing how various author tease out setting, character, plot and emotional arcs, appreciating those nuances, and figuring out how to take our own writing a little bit deeper. Because as Kate DiCamilla once said, "Every well-written book is a light for me. When you write, you use other writers and their books as guides in the wilderness."

Thanks for joining me on this reading challenge! And good luck!
Francine

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An Interview with Lori Mortensen

2/19/2019

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Interview by Annie Cronin Romano

Welcome Lori, and congratulations on your latest picture book, AWAY WITH WORDS: THE DARING STORY OF ISABELLA BIRD, which hits shelves March 1st!

Thanks, Annie. Writing about Isabella Bird was its own adventure and I’m delighted to have the chance to tell you more about it.

How did you come to be a children’s book author?

Although I was always an avid reader, writing didn’t occur to me until I was a stay-at-home mother of three. When I was re-introduced to children’s literature, I wondered what I could write. I’ve been writing ever since.

Can you share the inspiration for AWAY WITH WORDS? What drew you to share Isabella Bird’s story?

Since Isabella Bird lived during the Victorian Age, like many people, I hadn’t heard about her. However, when I began searching online for women’s firsts, such as first woman doctor, first woman astronaut, etc. I discovered Isabella Bird was the first woman inducted to the Royal Geographical Society. Once I delved into some research, I knew I wanted to tell her unique and exciting story.

AWAY WITH WORDS is a nonfiction picture book biography. What are some of the ways your process with this manuscript was different from that of your fiction work?

Writing fiction and nonfiction has more similarities than one might imagine. In both cases, the author needs to bring the character to life and create an underlying theme that will be meaningful for young readers.

For nonfiction, it requires a lot of research before I discover how I want to tell their story. Since picture books can’t and shouldn’t include everything about someone’s life, picture books have to be very focused and cut to the chase. I love picture biographies because they are so focused, illuminating the most fascinating aspects of someone’s life and his/her accomplishments.

When I write fiction, however, it’s all up to me to come up with an appealing character and storyline. This involves a lot of introspection and exploration to discover the story I want to tell.

Tell us about your road to publication for AWAY WITH WORDS. Was it bumpy? Smooth sailing?

Just like Isabella Bird, this picture book manuscript had its own journey with a lot of twists and turns. I began writing the manuscript 10 years ago and it went through many revisions. However, none of them seemed quite right in spite of an agent’s interest and input. In time, the agent and I parted ways, and I put the manuscript away. However, a few months later, I decided to take another look since I still believed in Isabella’s story. When I revised this time, a metaphor sprang to mind that became the heart of the story.

“Isabella was like a wild vine
stuck in a too small pot.
She needed more room.
She had to get out.
She had to explore.”

This comparison created a unique theme that brought Isabella’s story to life in a way that other versions hadn’t. Along the way to publication, there was a new agent, new editors, and a search for the perfect illustrator. After more than 100 years, I’m delighted that Isabella is off on a new journey as young readers discover her exciting story.

In terms of your writing process, do you plot before you write or are you more of a pantser?

Oh, wouldn’t it be nice if I knew where I was going when I begin to write? Sometimes I do, but most of the time I am a pantser---writing by the seat of my pants until I figure out where I’m going. My manuscripts usually start with the crumb of an idea—a title, a character, an illustration—then I go this way and that until I find my way.

What is your editing process like? Do you belong to a critique group?

I spend a lot of time writing and revising. It takes time to develop a character, storyline, and theme, as well as a lively, read-aloud text. With each revision, the manuscript gets better. New ideas come to mind, I understand the character better, and language begins to flow. Once I’ve completed a manuscript to the best of my ability, I share it with my critique groups—one that meets in person, and another online. Over the years, I’ve found that trusted critique groups are invaluable. They not only celebrate the things that work, they point out areas that don’t make sense and offer suggestions. After I get feedback, I revise again until I’m happy with the result. We don’t always agree, but that’s okay. Writing is a subjective endeavor and, in the end, an author must follow their heart.

What do you love most about being an author?

When I look back on the books I’ve published, I’m so delighted to be part of the picture book community. For me, there is something magical about shaping words into stories, seeing them come to life through the eyes of extraordinary illustrators, then sitting down, book in hand, and reading those stories to young readers.

What is the most challenging part of being an author?

Coming up with stories on a regular basis and all the rejection that’s part of every author’s life.

On your website, you mention some of your favorite books as a child, including Where the Wild Things Are and A Wrinkle in Time. What are some of your favorite books now?

These days, I have so many favorites, it’s impossible to name them all. However, some of my favorite picture book authors include Oliver Jeffers, Julie Fogliano, Liz Garton Scanlon, Don Brown, and Alex Latimer.

You have published over 100 books. Are there any that are particular favorites of yours or hold a special place in your heart?

As you can imagine, they’re all meaningful to me because I spend so much time on each manuscript. However, one reader favorite is Cowpoke Clyde and Dirty Dawg published by Clarion. It’s a wild, rambunctious read aloud, illustrated by wonderful Michael Allen Austin, that became one of Amazon’s Best Picture Books in 2013.

We’d love to know what you’re working on now. Any projects coming up?

I have some wonderful projects coming up. In 2020, Houghton Mifflin Harcourt will release another picture book biography that will be illustrated by the talented Chloe Bristol. Because its publication date is still a year out, mums the word about the subject for now. But I’m especially looking forward to sharing this individual’s unique and curious story. I’m also excited about the recent sale of a new fiction picture book. I’ll be able to share more details in the coming months once the illustrator has been selected.

What advice would you give to writers out there in the query/submission trenches?

Read the genre of stories you want to write. Study story structure, beginnings, middles, and endings. Study character and voice. Then, keep trying. Be persistent. Persistence is key. As you keep writing, your manuscripts will get better. Don’t be in a rush to submit. Rather, focus on making each manuscript the best that it can be. When it’s irresistible, success is only a submission away.

Thanks so much for sharing your experiences with 24 Carrot Writing, Lori!

Lori Mortensen is an award-winning children’s book author of more than 100 books and over 500 stories and articles. Her upcoming picture book biography, Away with Words, the Daring Story of Isabella Bird (Peachtree), is about a Victorian traveler who defied society’s boundaries for women and became the first woman inducted into the Royal Geographical Society. Recent picture book releases include If Wendell Had a Walrus (Henry Holt), Chicken Lily (Henry Holt), Mousequerade Ball (Bloomsbury) illustrated by New York Times bestselling illustrator Betsy Lewin, and Cowpoke Clyde Rides the Range (Clarion, 2016) a sequel to Cowpoke Clyde & Dirty Dawg, one of Amazon’s best picture books of 2013. When she’s not letting her cat in, or out, or in, she’s tapping away at her computer, conjuring, coaxing, and prodding her latest stories to life. For more information about her books, events, critique service, and upcoming releases, visit her website at www.lorimortensen.com.

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Valentine's Day Release: FALLING FOR WONDER BOY by Kristine Asselin

2/14/2019

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~ by Amanda Smith

24 Carrot Writing celebrates with
Kristine Asselin
as her new Young Adult novel,
Falling for Wonder Boy
hits shelves today!

When sixteen-year-old Kate Anderson signs up for the New Hampshire Junior State Golf Championship, she has no idea how important it is for her to win. But when she finds out her family’s beloved golf course is on the verge of going broke, the pressure is on to bring home the top prize. If she can become the first girl to ever win the tournament, she’ll earn more than bragging rights and a college scholarship – she’ll become famous. And with fame comes a gigantic media blitz, and that type of hype is exactly the prize her family needs to bring back the crowds and chase away the threats of bank foreclosure.

Unfortunately, golf is a game of focus and Kate’s distractions are mounting by the day: her growing crush on her best friend Scott and dealing with the local bully seem tough enough without the extra distraction of the cute British exchange kid her dad hires for the summer. But when vandals damage the golf course and Scott is accused of the crime, the stakes suddenly become bigger than any tournament. To clear Scott’s name, Kate takes on the responsibility of finding the culprit before the course is vandalized again. Otherwise, winning the tournament won’t even be on the table, and neither will a future with Scott.

Kristine shares the inspiration behind the novel, as well as her path to publishing:

Falling for Wonder Boy has truly been a labor of love for me. When I started writing in 2006, I was drafting mostly picture book texts for my toddler—they were okay, but not great. I got some nice feedback, but nothing more. When a friend reminded me of an anecdote from our teen years, I had an epiphany. It would make a great YA short story.

My parents managed a golf course in the 1980s. They bought it when I was in the 6th grade. For my entire teen years, we lived, worked, and played golf. When I was in high school, I was the only girl in my four years to go out for the golf team. It just wasn’t a sport girls played in my world.

After I wrote the short story, I shared it with a few trusted friends. And the overwhelming response was that people needed to know more about the characters. That short story ended up being published in Golfer Girl Magazine in 2008 as “The Knight in Tan Khakis” and is more or less Chapters 9 and 10 in the book—where Scott tosses Kate a sweatshirt to cover up a see-through wet t-shirt.

Since 2008, that short story has evolved. For a long time, the title of the novel was The Sweet Spot. It’s been through a dozen revisions, it landed me my agent (more than once). It was acquired by a publishing company and then rejected after the decision was made that golf wasn’t something that would sell to teens. I’ve written other things, including a ton of nonfiction and two published novels (Any Way You Slice It and co-written The Art of the Swap). In fact, Any Way You Slice It was a direct result of that failed acquisition.

The Sweet Spot was shelved for years, but in late 2018, after ten years of close calls, I decided to work with K.R. Conway at Wicked Whale Publishing to independently publish the book. I changed the title to Falling for Wonder Boy and I haven’t looked back.

I’ll be honest, in some ways it’s scarier than anything else I’ve ever published. There are pieces of my heart on display for all to see—it’s mostly fictionalized, but there are moments that really happened (like the sweatshirt toss). Emotions that were real.

This book is truly the book of my heart. Not only is it firmly grounded in my own history, it’s also been the backbone of my writing career. Working on this book taught me how to write. It opened doors for me professionally. It deserves to be out in the world.

I’m grateful to K.R. Conway for her support, guidance, and amazing design skills. I could not have imagined a better skin for Kate and Scott to live inside. I’d love to engage with readers. Please let me know what you think!

Bio
Kristine is the author of sixteen works of children’s nonfiction as well as the YA novel Any Way You Slice It and co-author of the middle grade novel The Art of the Swap.

She loves being a Girl Scout leader and a Library Trustee, and volunteering with the Society of Children’s Book Writers and Illustrators. Her alter-ego is The Query Godmother and she loves critiquing queries and helping people with submission packages. She lives on the outskirts of Boston with her teen daughter and husband, and is represented by Kathleen Rushall of the Andrea Brown Literary Agency.

Visit her at www.kristineasselin.com/

FALLING FOR WONDER BOY is available at Amazon, Barnes and Noble, Kobo and other online vendors.

And a give-away!

One lucky reader can win a copy of one of Kristine's YA novels, Any Way You Slice It or Falling for Wonder Boy. A second reader can win a copy of The Art of the Swap, the MG novel Kristine co-wrote with Jen Malone. (Click here for a review.)

Leave us a comment. Winners will be announced March 1, 2019.

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Its Not All About Farting Robots (But It Could Be!)

2/4/2019

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Hosted by Kelly Carey

24 Carrot Writing is thrilled to welcome author Jarrett Lerner to the site. Jarrett is the author of EngiNerds, a middle grade series starter hailed by Kirkus as a “boisterous balance of potty humor and geek pride” and a “rollicking young engineer’s adventure”. Its sequel, Revenge of the EngiNerds launches next month and I know my nephew is hoping for more side-splitting fun (and farting robots!).

Jarrett knows how to have fun in his writing but he is also passionate and serious about being a contributing force in KidLit and having a positive effect on his young fans. To that end, Jarrett cofounded and helps run MG Book Village, an online hub for all things Middle Grade, and is the co-organizer of the #KidsNeedBooks and #KidsNeedMentors projects.

Welcome to 24 Carrot Writing Jarrett!

Can you tell us a bit about your journey to the printed page? How did you become a published author?

I’ve been drawing and writing since I can remember. Growing up, I definitely had other interests and hobbies – I played baseball and guitar and skateboarded. But I was always in the middle of a book or two, and I always had notebooks lying around with stories, sketches, and ideas. And while my interest in those other things waned, my interest in reading and creating only grew, and eventually flared up into a full-blown passion.

Even so, it never occurred to me that I could become a published author. In college, I was writing like crazy. And sure, I fantasized about being published. But I truly believed that that’s all such thoughts ever were and ever would be – fantasy. It took an author who I looked up to a great deal challenging me on that and encouraging me to make a go of it before I fully took myself and my work seriously. And then it took years and years to really find myself as a creator, to understand where the stories I wanted to tell “fit.” Or, to put it differently, it took years and years to accept and embrace the fact that I stopped maturing around the age of 10, and that I just wanted to write about farting robots and draw monsters all day long.

Fans of EngiNerds are excited for the sequel, Revenge of the EngiNerds. When did you decide to write a sequel? How did it feel to go back and revisit Ken and his EngiNerd crew in a new manuscript?

Even my earliest drafts of the first book ended on a cliffhanger (I’m a big fan of them!), and when the book eventually sold, it was bought along with a sequel. So I knew pretty much from the get-go that there’d be this follow-up. Revisiting the crew in a new manuscript was both fun and frustrating. I love these characters, and tossing them into a bunch of new crazy situations was a total blast. But there were times when I wished they weren’t so fully formed in my mind (and in the first book!), when if one or another character was just a little more like this or that it would’ve made the plotting of this second book a whole lot simpler. But that just forced me to challenge myself, and in the end, I think, I produced a better book because of it.

You just announced the launch of a new series, Geeger the Robot, an early Chapter Book launching in 2020. How would you compare working on your MG books to working on this Chapter Book series?

Henry James once described novels as “loose, baggy monsters.” He meant it especially when comparing them to short stories, in which there’s less room for detours and digressions and, on the part of the reader, less tolerance for “imperfection.” And if there’s a spectrum for such considerations, then poems would be at the opposite end from the novel. In a poem, a reader might notice (and be irked by) a single out-of-place syllable.

I think James was onto something. With novels, I feel more free to take detours or linger in a scene a bit longer than is strictly necessary, just because it might be interesting or enjoyable. You don’t really have that luxury in shorter works. But at the same time, there’s something thrilling about chasing the “perfection” that is (or at least seems) possible in shorter works. I labor over all of my sentences. But the shorter a work is, the fewer the sentences it contains, the more “right” I feel those sentences need to be.

You have taken your passion for writing and used it to fuel the creation of projects and communities like MG Book Village, Kids Need Books, and Kids Need Mentors. Can you talk about how your writing journey lead you to each of these endeavors?

I think my passion for storytelling and creating has always had a tendency to “spill over.” I read as much, if not more than, I draw and write. I get really, really excited about other people’s work, and want to share it with the world, and I think my involvement in the MG Book Village sprung out of that. And Kids Need Books and Kids Need Mentors – those are both projects aimed at improving and enriching the lives of kids. That’s something I try to do with my books too. While it may look like I’m scattered or that I’ve got too many irons in the fire, I see all of these projects as related.

You have a great natural talent and interest in illustrating. How did you land on MG and Chapter Books and not PBs or graphic novels? Is there a PB or graphic novel in your future?

I’ve been drawing longer than I’ve been writing, and growing up, the two were always linked for me. But I think school – and in particular high school and college – severed them in my mind. There weren’t any pictures in the books we were reading for my literature classes. And if I’d been caught with one that did have them, I probably would’ve been ridiculed for it. And the only time visual art was linked with storytelling was in my Art History courses in college, and then in an extremely scholarly manner.

There’s a great quote from Picasso – “It took me four years to paint like Raphael, but a lifetime to paint like a child.” I learned a great deal in high school and college. But I think it knocked me off my creative track. I was learning to write like Dostoevsky and Philip Roth and talk about paintings like I was interviewing for a job at MoMA when my heart lay with 8-year-old Jarrett making his own silly comic books in the back of the classroom. Fortunately, it didn’t take me a whole lifetime to reconnect with that kid.

And yes – there are some illustrated works in my future. I’m not allowed to talk much about them just yet, but if you follow me on Instagram and/or Twitter, I now and again give some sneak peeks (shhh… don’t tell my publisher!).

You have done an impressive number of author visits in a far reaching number of states. For example, you’ve been to California, Illinois and all over New England. How did you land your bookings? Manage your travel? And how have you planned your presentations to appeal to different audiences?

I’ve been lucky to receive a number of invitations to schools. And once I have an invitation, I usually start doing outreach to try and turn a single visit into a sort of mini-tour. Last year, for instance, an educator in Chicago expressed interest in my visiting her school. I put out a call to others in the area and was able to get a week’s worth of visits. I’ve organized several other trips in just that way. But I think it’s important to say that I wouldn’t be able to do this as successfully had I not put a lot of time and effort into connecting with educators and librarians all across the country (which is something I continue to do all the time!). I truly believe that kids’ educators and librarians and kids’ book creators are colleagues, and that the more we work together, the better work we can all do. Putting in that time and effort to make these connections has enriched my life in many ways. I’ve learned SO much. I’ve made incredible friends. I’ve grown as a person and as a creator. And, more practically, it’s helped me when it comes to booking visits.

The Dutch version of EngiNerds just launched. How did you balance excitement over a foreign edition with a new illustrator doing the cover and a new title? How can authors and illustrators, who cherish their work, make space to let the creative energy of others add to it?

I fully embrace the collaborative aspect of book-making. Sometimes I feel it’s a bit preposterous that authors get to have their names alone on their book covers! It’s almost always a team effort. I’ve also always subscribed to the idea that, once you put a book out into the world, it’s no longer yours – or no longer only yours. In engaging imaginatively with a work, each reader assumes a slice of ownership of the book too. I think because of all this, I find it thrilling to see what other creators do with “my” work. But that doesn’t mean I can’t question or challenge some of the choices they make – that’s part of the collaborative process too.

At 24 Carrot Writing we are big on goal setting. Do you set detailed writing goals, broad yearly goals or do you fly by the seat of your pants?

I think I do some combination of both – I set goals by the seat of my pants! I am never working on just one project. I always have two, three, and sometimes even four or five going at once, each of them usually in a different stage of completion (or incompletion). On any given day, I’ll take two things into consideration: (1) what I feel like working on, and (2) about how much time I’ll have to work on it. Given that, I might do some exploratory doodling, or dive into novel revisions, or work on putting together a picture book dummy. Every now and again, though, I really “land” on a certain project, and will give it my full attention and concentrated energy until it’s finished (or a draft or version of it is complete). I guess you could call it “occasionally organized chaos,” but it keeps things both fun and productive for me. And that’s huge. If I’m not enjoying the work, it shows in the results. That might not be true for all creators, but it is for me.

Of course, sometimes some of this goes out the window when you’ve got deadlines. But the majority of the time, I meet my deadlines without changing things up.

24 Carrot Writing sits on the premise that authors need to set and accomplish both writing goals and the business of writing goals. How do you balance your responsibilities to MG Book Village, Kids Need Books, and Kids Need Mentors with writing your books and hitting your writing deadlines?

I touched on this in an earlier question, but basically, I think it’s all about perspective, and about how you define your work and your goals. I love, love, LOVE making books. And yes, I could probably do that and only that all day every day for the rest of my life and be BEYOND content. But I don’t see making books as the only aspect of my work as a creator – or, what’s more, as the only facet of what I, as a human being, have to offer during my time on the planet. In addition to making good books, I want to more directly help and inspire kids, and I want to give back to the various communities that have supported and sustained me. With such goals, it’s not so much about finding balance as it is about finding the time to get it all done!

What advice do you have for beginning writers?

Embrace, explore, and celebrate the things that make you (and your creative output) uniquely you. The weirder and wonkier, the better.

To learn more about Jarrett you can visit him at jarrettlerner.com/ , or find him on Twitter @Jarrett_Lerner.

You can purchase copies of EngiNerds or Revenge of the Enginerds using these links: www.indiebound.org/book/9781481468725, www.indiebound.org/book/9781481468749, www.amazon.com/EngiNerds-MAX-Jarrett-Lerner/dp/1481468723/ref=sr_1_1?ie=UTF8&qid=1547132304&sr=8-1&keywords=enginerds , www.amazon.com/Revenge-EngiNerds-MAX-Jarrett-Lerner/dp/148146874X/ref=sr_1_1?ie=UTF8&qid=1547132360&sr=8-1&keywords=revenge+of+the+enginerds .

And be ready to have Jarrett in a bookstore near you! Jarrett will be at the South Portland Public Library in Maine on February 23rd and at Print Bookstore in Maine on March 12th. 24 Carrot Writers be sure to say hello!

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Branding for Writers

1/30/2019

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~by Amanda Smith

Lately, I have been thinking a lot about branding. Not only because we have been thinking, planning, and talking logo at 24 Carrot Writing (see the introduction post here) , but also because I have been working on my personal website. I am constantly considering how I want to present myself, and here at 24 Carrot Writing, while we come up with a lot of cool ideas, we always circle back to the question: “How does this fit in with our main directive?” So, what is branding and how does it fit onto a writer’s life?

Branding is the ways in which a person or company establishes their image. It is the promise they make to their customer and the thing that makes them recognizable. Branding includes core values, interactions, slogan and logo. Anything a business puts out into the world, including websites or promotional materials, communicates its brand.

A logo is the foundation for brand recognition. Logos usually consists of text and image, although some logos, like Nike or McDonald’s, have become so recognizable that the text is often omitted. When logos are used correctly, they represent a business’ identity and build trust.

But why is all this business jargon important for writers?

Branding is unavoidable. Exposure from your work, blogs, social media, interviews, and podcasts all communicate your brand as a writer. As your public image is being formed anyway, you can be proactive in shaping it. Branding is ongoing and evolving, and you should play an active role in the message you communicate to your readers.

So, as you shape your brand, consider the following:

Brand should be independent from your book. The brand should transcend the book, so future books can benefit from the identity you have already built.
Branding often builds an audience even before your book is released, so work on those platforms now.
It should communicate what makes your work unique. What is your angle? That is your implied promise to your readers.
Know your audience. Make sure your brand correctly represents you and your work, and communicates effectively with your intended audience.
If you choose to have a logo,
- Make sure the text is clear and readable.
- Be consistent. Don’t make modifications. You want the logo to be memorable and recognizable.
- Consider having your logo professionally designed. It is your professional image, after all.
  - One could hire a graphic designer
  - Some print-shops have inhouse designers

In the world of platform building and author websites, a logo or badge can be useful to show your affiliation with a particular online group or challenge. Those of us who have participated in 12x12, or Storystorm (previously PiBoIdMo), or NaNoWriMo proudly display those badges on our websites. Displaying logos or badges can be an indication of how active one is within the writing community, and that in itself also helps build one's individual brand.

You are your brand. Moving forward, what strategies will you use to mold your brand?

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INTRODUCING...

1/28/2019

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Today, 24 Carrot Writing is thrilled to reveal our logo, designed by graphic designer Russ Nemec.

Our brand is built around goal-setting. 24 Carrot Writing encourages you to set monthly writing and craft goals, and to reward yourself with meaningful carrots along the way as motivation to keep moving forward. Our audience is writers of children’s books, and so, even though we are serious about those goals, we embrace playfulness.

Are you intentional about setting and attaining writing goals? Join our Facebook group, browse our Writing Goals tag, download a 24 Carrot Writing Goal Worksheet, and earn those carrots! If you consider yourself part of the 24 Carrot Writing community, or have contributed to our website, we invite you to download our logo for your website.

Join us on Wednesday for a post about branding for writers.