By Annie Cronin Romano

Two weekends ago, I went on a writing retreat with three of the four members of my writing group. It had been 20 months since our last one, and planning this one had been a challenge. From nailing down a weekend when all four of us could go (obviously we didn’t succeed there) to finding an affordable, comfortable place to work distraction-free, there were several obstacles to overcome. But it was important to us, as a group, to do this. Why do this? You ask. Good question. 

1. There are no “home life” distractions. No one feels compelled to do the laundry, or clean the bathrooms, or rake the yard. Your kids can’t suddenly ask for a ride to the movies. It’s just you and your writing.

2. There are no (or far fewer) time constraints. You don’t have to stop writing in fifteen minutes to prepare dinner for the family or do the grocery shopping. This unrestricted time can free up your creativity and get the ideas flowing.

3. You’re not alone. There’s a group mentality to help maintain focus. You’re all there together for one purpose. I’m a fairly disciplined person, but even I admit that I would be tempted to lounge around, sleep late, read a book, or surf the web if it was just me on a writing weekend. Sure, I’d write. Just maybe not as intensely as I do with others around me who are focused on their work. Having fellow writers with you creates an accountability you might not have if you’re alone.

4. Even the breaks are productive. When we get up to make tea, grab a snack, or just stretch for a few minutes, we often use that time to bounce ideas off each other. We ask each other questions about plot, word choice, and characterization. When writing alone, that’s not possible. But when you’re with fellow writers, you can tap into each other’s writing strengths and knowledge.

All the members of my writing group write fairly consistently at home. But we recognize that doing this intense write-in retreat really helps us get a significant amount of writing accomplished. A group writing retreat can rejuvenate your writing, whether you use it to brainstorm story ideas, plot a novel, revise a story, or free write to move your creativity into high gear. So round up some writing colleagues and organize a retreat of your own. And let 24 Carrot Writing know how it goes! 

~Annie

​by Francine Puckly

​I am pleased to host an interview with author and writing colleague, Nancy Tupper Ling. Nancy’s books for adults include the poetry collections, Coming Unfrozen and Character, and, for those of you at a loss for the right words on special occasions, Toasts: The Perfect Words to Celebrate Every Occasion. Her picture books include Double Happiness, The Story I’ll Tell, and My Sister, Alicia May. Nancy is the founder of Fine Line Poets (www.finelinepoets.com) and winner of the prestigious Writer’s Digest Grand Prize and the Pat Parnell Poetry Award. Nancy and I had the chance to catch up this past winter, and in honor of Mother’s Day I wanted to talk a little bit more about her most recent picture book, The Story I’ll Tell.
 
Thank you, Nancy, for joining me for this interview!
 
The Story I’ll Tell is a tale of a mother and how she will share her child’s arrival with her family. You said in a recent conversation that this book is much more than a story about adoption. What is the heart of The Story I’ll Tell? What readers, beyond adoptive families, will enjoy this story?
 
The idea for this story came to me in a daydream as I was driving along the highway. I had an image of a child arriving on a family’s doorstep in a basket, and I began to wonder what kinds of stories a parent would tell that child about how he came into their lives. Gradually it grew into an adoption story, but I hope it reaches all families. When I sign a book for a child, I often write “for all the stories you’ll tell.” Everyone has a family story or two, and sharing these stories draws us closer.
 
Did you interact with the illustrator for this book, and, if so, what was your working relationship?
 
Typically publishers like to keep the author and illustrator apart during the creation of the book. This way the author doesn’t try to influence the illustrator’s work. That said, I love connecting with my illustrators along the way. Shortly before our book was about to launch, Jessica Lanan and I found each other on social media. Now I bring some of her storyboard sketches with me when I visit schools to show a bit of her process as well as my own.
 
Tell us a little bit about the process of working with your editor. How long did The Story I’ll Tell take, from start to finish, once it was acquired by Lee & Low Books?
 
I like to think of The Story I’ll Tell as one of those “gift” stories. Surprisingly, it didn’t require much revision, and I believe Lee & Low was the first publisher to see it. With my book Double Happiness, I revised and submitted many, many times. The whole thing took about ten years! So my experience with The Story I’ll Tell was very different. My agent, Ammi-Joan Paquette, told me she’d found a new editor at Lee & Low in July 2013. Shortly after that, I was in the middle of a California conference called Build a Better Book when I got the good news. It had been accepted. I worked with my editor, Jessica Echeverria, but the edits were minimal. It was a little over two years after signing with Lee & Low that it was published (November 2015)—right in time for National Adoption Day.

By Kelly Carey

I love to celebrate the successes of my fellow writers and here is why.

I could stand in an empty field in a thunderstorm and wait for lightening to strike. But that sounds lonely and scary.  Instead, I’d rather connect with a vibrant group of writers and let the collective friction of our creative energy fire off a spark.

When that happens, I want to be connected – to the writer, to their creative process, and hopefully to their manuscript. After all, I don’t want that spark to have to jump very far.

 Think of a circle of writers holding hands, or a football team huddled with their arms slung over each other’s backs – think how easily that electric spark will flow from one writer to the next when we are that connected.

So how do we connect?

We connect at conferences when we chat about craft. We build deeper connections when we form a critique group or take a workshop together.  These moments offer opportunities not only to nurture our own writing journey, but to nurture the process of another writer.  And to really and truly connect, you have to really and truly nurture.  That means that when you hear a writer doubting their work after a harsh critique, you offer encouragement.  When you read about a new agent looking for a project that describes a manuscript a writing partner shared, you shoot them an email. When you have taken a workshop that was helpful, you spread the word. When your critique partner asks you to read a manuscript, you offer your best and most complete feedback.
 
Your job is to propel every manuscript you touch forward on the road to publication. Yes, I said every manuscript.  If you read it – you own it. Give your best feedback, your best advice, and then encourage the revisions and the submissions. Keep that writer on the path. If you bump into them and they have stalled in the process, fire them up again. Challenge them to set writing goals, and help them stick to them.  Tell them to join the 24 Carrot Writing Facebook group (shameless self-promotion).

When you have done this, then you get to celebrate the success of fellow writers.  If you have encouraged them in a moment of doubt, given them a pep talk after a harsh rejection, offered constructive feedback on a manuscript, then you have been a part of their success and you will look forward to the day that they are a part of yours.

So, when we hear that a writing friend sold a manuscript – we jump for collective joy!

 ~ By Amanda Smith
 
Upon returning my novel, my one critique partner pointed out I had a couple of high-frequency words. She suggested I word search them, just to see how often they come up.

At first I thought it would be a quick exercise of replacing a couple of “saunters” with something better, but her simple suggestion sent me on a two-week mission to find and eliminate high frequency and weak words from my novel.

This exercise helped me realize something about my drafting process. When I first drafted the novel, I sometimes put in commonplace reactions, such as “she smiled” or “he frowned”, because my instinct tells me the character will have some kind of reaction. The thing is, when I am in the midst of drafting, my characters’ emotional arc, as well as their personalities, are not yet fully developed.

It was only in the revision stages that I really knew exactly who each character was, and where a particular scene or reaction fell in their emotional arc. Going back to all those “smiles” and “shrugs” and “frowns” via a word search, I now had the bigger view to fill out the descriptors with more personal, meaningful reactions. Sometimes that meant adding a paragraph, and in some places a scene, that was missing to complete the emotional arc of the character.

Doing word searches also allowed me to designate certain words or traits to specific characters. We all have words we love to use – our personal vocabulary. I made sure that certain words (especially slang or teen expressions) were used sparingly and only by certain characters.

How do you do a word search?
If you write in Scrivener, the search box is in the top right hand corner of your screen.

• Make sure “Manuscript” is selected in your binder to ensure Scrivener will search your whole manuscript and not just a selected scene. Type the word you want to search in there, e.g. smile
• By clicking on the drop-down menu (arrow next to magnifying glass), you can select if you want to search for whole words, phrases etc.
• A list of the scenes containing that word will appear in your binder on the left-hand side. When you click on a scene, your search word will be highlighted. You can edit the scene right there, and Scrivener will save your edits.
• When you are done with that word, click on the x in the search box to clear your search. You are now set to type in the next word in your search.

If you write in Word, “Find” is in a box on the top right of your screen.

• When you click on "Find", a Navigation box will open on your left-hand side, with a list of all the places you used that word.
• The search word will be highlighted in your text.
• You can navigate your search with the arrows, and you can edit in the document as you go. 
• Clear the search by clicking on the x.

 
Where do you start?
There are some words that are high frequency for most writers. Start with that list. Here are a few I searched:
Walk                                                                        Nod                                                     Turn
Smile                                                                       Laugh                                                   Just
Go                                                                            Little                                                    Tiny
Really                                                                      Very                                                     Look

Then there are some words more specific to your own writing. These are some of the ones I searched:
Saunter                                                                   Snort                                                      Dorky
Stroll                                                                       Gaze                                                        Like
Feel                                                                          Seems

Word searches are also handy to make sure you consistently spell character names the same way. Minor characters in particular, like the teacher that appears maybe twice in a novel, or a tricky last name, can trip you up

by Francine Puckly

​I am pleased to host an interview with friend and writing colleague, Janet Fox, author of student self-help book Get Organized without Losing It, three young adult novels Faithful, Forgiven, and Sirens, and most recently the middle grade novel The Charmed Children of Rookskill Castle.
 
In addition to Janet’s writing career, she has worked as an oceanographer and taught English at both the middle and high school levels. She serves as assistant regional advisor for the Society for Children’s Book Writers and Illustrators in Montana. I recently had the chance to catch up with Janet at the SCBWI Winter Conference in New York City in February. Here are just a few of the many questions that bubbled to the surface after visiting with her!
 
Thank you for joining us, Janet!
 
Thanks so much for having me here, Francine!
 
In NYC, we discussed landing a literary agent, a process that for many is a long (and often discouraging!) process. What was your process to finding the best representative for your books? What is the key piece of advice you’d offer writers on that quest?
 
I'm actually working with my second agent. My first agent and I parted company amicably when she no longer loved the direction my work was taking (she likes YA romance; I wanted to write MG fantasy). But I met her through a critique at an SCBWI conference. It was not my first critique, and I had been writing for several years trying to polish what became my first novel, so that's my first piece of advice: polish and revise, polish and revise, until your manuscript glows, before you submit. And my second piece of advice: take chances with critiques, especially those offered through SCBWI. Even if you don't land an agent you'll gain valuable experience in being critiqued. And my third piece of advice: don't be discouraged! If you learn and apply the craft, and you keep writing and submitting, one day you'll find a match with an agent.
 
Last note - the author/agent relationship is like a marriage. Your agent needs to be your biggest cheerleader and should love your work without reservation. Don't sign with someone because you're desperate. Sign with an agent who believes in you and will be your advocate.
 
“Pre-published” writers have the flexibility on deadlines. They may or may not be drafting a new novel while submitting revisions for the manuscript under contract. How do you organize your work, as drafting a new story and revising a completed story use very different parts of the creative process?
 
Great question. There's a lot of down time in publishing, and I don't want to rest on my laurels. Besides, I love to write, so I write every day regardless of where I am in the process.
 
For example, in early January my agent sold my next novel (a MG fantasy titled THE LAST TRUE KNIGHT) to my editor. My editor asked me to work on it based on a phone conversation. I did, and completed that draft in early March, and sent it off to her. While she wrote her edit letter I had almost a month to wait, so I began working on notes and early pages for what I hope will be my next-next novel.
 
As for the different parts of the process, they really aren't so different for me. Each time I sit down to write I feel like I'm learning a new craft element, and each creative moment I'm in feeds all the others that wait. Early drafts are hard for me, and I love revision, but it's still all a generative process.
 
When working with your editor, how long does she give you to complete revisions for each stage of the process? For example, do earlier revisions require bigger changes to the manuscript and need more time? Or are you marching to a tight timeline always?
 
That depends on the project and on the editor. For THE CHARMED CHILDREN, I had about 4 weeks after the first edit letter because my editor was taking a sabbatical and needed to push the process. For THE LAST TRUE KNIGHT, my editor said there's no timeline right now because she wants to see a really deep next revision and doesn't want me to feel pressured to do less than my best. (Needless to say I'll be working under my own self-imposed deadline, because I work better that way.)
 
But generally, yes, the first edit letter addresses the big, global changes that need to be made, so that round takes longer, and each successive round is shorter and shorter.
 
At this point in time in your career, do you write full-time or part-time?
 
Full time, lucky me! I have a very supportive husband, my son is in college, and we're pretty settled.
 
What does a typical workweek look like for you?
 
I write every day, including Thanksgiving, Christmas, and my birthday. Sometimes that doesn't amount to much - maybe some notes, maybe a few hundred words; but I usually try for at least 500 new words a day, or a certain number of pages of revision a day.
 
Of course, I do spend a bit of time marketing - writing blog posts, posting to Facebook, Twitter, or Instagram, generating marketing and publicity materials. And I spend time reading craft books, attending conferences and webinars, and giving lectures or doing school visits, and all of those things take lots of time, too.
 
But the main thing I try to do is write. Every day. And read, every day.
 
Do you have a special time to write or how is your day structured?
 
I don't have a special time that is really cast in stone. I just scan my day and try to fit the writing in first, but if it takes me until 3 in the afternoon to get to being creative, that's all right. I used to be only a first-thing-in-the-morning writer but life gets in the way so I give myself flexibility.
 
But I won't let myself off the hook if I can help it!
 
Do you work to an outline or plot or do you prefer to just see where an idea takes you?
 
I'm an avowed pantser (seat-of-the-pants writer). I've tried often to write to an outline, from the most rigid to the most vague, but that approach kills my creativity. I just can't outline. I love to see where my subconscious will take me. My worst writing comes when I've planned, so I've learned to honor my personal and very organic process.
 
How long on average does it take you to write a book?
 
My first draft takes from two to four months. Every draft after that takes from one to two months, and the process gets shorter with each revision, so for me to write a full novel with a draft I feel is ready to send to my agent takes in total almost a year.
 
But I hit the reset button when I get my first edit letter because that edit always takes me to new places which takes a bit more time.
 
I should add here that my agent is an editorial agent, meaning she wants to see the full draft of whatever I write before she'll submit, and she makes extensive editorial comments on my work, to which I must respond before she'll submit. And she's excellent at it, so I completely trust her. The proof of her ability is that many of her clients are not only multiply published but receive starred reviews and more. My editor told me that when Erin (Erin Murphy) sends her a manuscript, she puts it at the top of her queue, because even if it's not something she can sign, it's always a polished piece.
 
Which writers have inspired you and your creative work?
 
Oh, wow, that's always such a hard question because I love so many and it changes so quickly with what I've read most recently. But here are a few. Kathi Appelt is my primary mentor - I wouldn't be published without her friendship and example. Laurie Halse Anderson, Julie Berry, Linda Sue Park, Jandy Nelson...I love Adam Gidwitz's INQUISITOR'S TALE, and Kelly Barnhill's THE GIRL WHO DRANK THE MOON, and anything by Grace Lin, Laura Ruby, MT Anderson, Rita Williams-Garcia, E. Lockhart.
 
But my first and earliest inspiration was C.S. Lewis, followed by all the old fairy tales, and then by Agatha Christie.
 
Which social network has worked best for promoting your work and/or creating a supportive writing community? Why?
 
I think I have to say Facebook. I have a lot of author friends there, and this is such a supportive community. I learn something new almost every day from people on Facebook. And I have an author page (www.facebook.com/AuthorJanetFox/) although I don't update it as often as I should - perhaps once every couple of weeks. After that I'd say my blog (janetsfox.com/), which I update every week, and then Twitter (@janetsfox). I'm trying to be better about Instagram (www.instagram.com/janetsfox/) because I know that's a terrific way to interact with especially younger fans.
 
But I also have a way for readers to follow my blog and/or my occasional newsletter here: bitly.com/janetfox
 
What has been your most difficult promotional challenge?
 
Hmm. Well, I'm not very good at self-promoting in person. Just the other day I was traveling through a city on a trip, and saw that a well-respected indie was right around the corner from where we were having dinner. I had to steel myself to go in and ask if they had my book, to sign stock. Not only did they have it, it was on a special display (hence why I didn't see it on the regular shelf) with a terrific review tag, and they were thrilled to meet me. While I felt sheepish and embarrassed, they were more than excited. So I obviously need to get over my embarrassment.
 
What is the hardest thing about writing novels from start to finish?
 
Definitely it's not getting discouraged when you think your work stinks. It's so easy to hate what you're writing, to feel like you haven't said what you want to say, and to feel like giving up.
 
For me, the creative spark - before I've set pen to paper for the first time - is brilliant. The idea shines like a supernova. Translating that brilliance to mere words, well, it's never perfect. As a writer I can only approach perfection, I can never achieve it. So I have to write through my mortal failure because to do anything else would mean giving up altogether.
 
What’s up next?
 
Next is THE LAST TRUE KNIGHT, from Viking. My own one-sentence blurb: "A novel about gender identity and alternative facts in a magical Elizabethan England." We're aiming for a fall 2018 release. Stay tuned! You can follow along on any of my social sites.
 
What would you like to say to writers who are reading this interview and wondering if they can keep creating, if they are good enough, if their voices and visions matter enough to share?
 
This is what I say to kids every time I'm in the classroom:
 
Everyone has a unique vision. Everyone has a unique story to tell. You, and you, and you have your own story, one that belongs to nobody else. Tell in your own voice, in your own time, with your own full heart, and don't be afraid to give it away, for you'll be giving the world the greatest of human experiences.
 
Your unique story is a bright light that has the power to change the world.
 
For more information about Janet and her books, visit www.janetsfox.com.
 
 
Tidbits about Janet:
Currently reading: Linda Sue Park, FOREST OF WONDERS

Favorite books (short list!): The Narnia books; THE UNDERNEATH; BONE GAP; THE PASSION OF DOLSSA; BECAUSE OF WINN-DIXIE; LORD OF THE RINGS; HARRY POTTER...I could go on!

​Favorite quote: "Art is a lie that makes us realize truth." Pablo Picasso
 
Favorite film: Casablanca
 
Manuscripts composed/edited in: Scrivener and Word
 
Remedy for writer’s block: BIC! (Butt in chair. Works every time. I promise.)

By Kelly Carey


In celebration of National Reading Month, I thought I’d share
the ways I add books to my KidLit reading wish list.




Publisher’s Weekly Newsletters 
First, I use the free Publisher’s Weekly Newsletter to learn about new KidLit books. You can opt for a variety of different PW Newsletters that arrive in your email inbox daily or monthly, and cover everything from general publishing news to reviews of newly released children’s books. Those reviews are “want to read list” gold. These books are all newly published, hot off the press, and if they are in my genre, I want to read them. Check out this link and pick the PW Newsletter that works best for you: http://www.publishersweekly.com/pw/email-subscriptions/.

A Kids Book A Day
I’m a big fan of Janet Hamilton’s blog, A Kid’s Book A Day. Janet is an elementary school librarian who reviews a recently published children’s book every day on her blog. You can sign up to receive her free daily blog emails. This blog is a great quick hit reminder to add current books to your reading list. Information on Janet’s blog can be found here: https://kidsbookaday.com/ .

ReFoReMo
 
ReFoReMo stands for Reading for Research Month and it coincides with National Reading Month in March. This great challenge produces blog posts from industry professionals who recommend picture book mentor texts and offer guided advice on how to learn from the best in KidLit books. ReFoReMo’s recommended reading list is always available, as are the blog posts. For more info on ReFoReMo check out the 24 Carrot Writing blog http://www.24carrotwriting.com/-blog/take-the-reforemo-challenge and http://www.reforemo.com/p/reforemo-mission.html.
 
Goodreads
 
Goodreads is a great online website that acts as your own virtual library. See the 24 Carrot Writing blog about the benefits of using Goodreads for cataloging the books you’ve read, and finding those comp titles you need http://www.24carrotwriting.com/-blog/use-goodreads-to-build-your-virtual-library. An added benefit of Goodreads is automatic email notification if authors of books in your Goodreads virtual library come out with new books. Goodreads also sends a monthly email newsletter that includes reviews of newly published books, a list of the Goodreads Best Books of the Month, and suggested reading lists from authors.Check out www.goodreads.com.
 
Around and About Recommendations
 
I keep a special “Want to Read” journal with me all the time. (Okay, truth. Sometimes I don’t have it on me so I have to resort to scribbling a book title on a scrap of paper. But eventually all these titles make it into the journal. They do. Really. I swear!)This journal helps me track books I hear about when chatting with other writers, when taking workshops, while strolling through the library or my favorite books store.
 
There are more books to read then space in my journal. And I wouldn’t want it any other way. The industry newsletters, targeted blogs, and websites are a way to make sure the best books bubble up to the top of my “Want to Read” list.
 

by Francine Puckly

​One of my favorite takeaways from the SCBWI Winter Conference in New York City each year is a refreshed reading list. Tying into Annie’s blog last week (March into National Reading Month) and the celebration of National Reading Month regardless of age, here are some young adult fiction and craft books being discussed by agents, editors and fellow writers at the conference. Select a couple titles to add to your reading list!
 
Young Adult Fiction Highlights:
All the Truth That’s in Me by Julie Berry
The Passion of Dolssa by Julie Berry
The Dark Days Pact by Alison Goodman
The Dark Days Club by Alison Goodman
Salt to the Sea by Ruta Sepetys
The Smell of Other People's Houses by Bonnie-Sue Hitchcock
Cruel Beauty by Rosamund Hodge
Before I Fall by Lauren Oliver
Challenger Deep by Neal Shusterman
Chime by Franny Billingsley
Dumplin’ by Julie Murphy
Caraval by Stephanie Garber
American Girls by Alison Umminger
If I Was Your Girl by Meredith Russo
Graceling by Kristin Cashore
I Capture the Castle by J.D. Salinger
Wonderful Feels Like This by Sara Lövestam
Aftercare Instructions by Bonnie Pipkin
Dear Reader by Mary O’Connell
The Skin I’m In by Sharon G. Flake
Tonight the Streets Are Ours by Leila Sales
Shatter Me by Tahereh Mafi
To All the Boys I’ve Loved Before by Jenny Han
 
Books with a Craft Focus:
The Magic Words: Writing Great Books for Children and Young Adults by Cheryl Klein
Dear Genius: The Letters of Ursula Nordstrom
Edit Yourself: A Manual for Everyone Who Works with Words by Bruce Ross-Larson
The Hero Is You by Kendra Levin 

Books in the Category of “Why not?”:
The Man Who Invented Christmas: How Charles Dickens's A Christmas Carol Rescued His Career and Revived Our Holiday Spirits by Les Standiford
The End of Your Life Book Club by Will Schwalbe
 
None of these books casts a spark for you? Fear not! Generate your own list. Chat up your local librarian and bookstore salesperson or ask critique group members and friends for suggestions. I’ve asked complete strangers about the books they’re reading. My experience has been that people who love books love to share their thoughts about books! So whether the coming days are rainy and dreary and you’re curled up on a couch or the first warmth of spring beckons you to a park bench, take along a new story.
 
~ Francine

  By Kelly Carey

For years, I’ve watched Project Runway and Project Runway Junior for pure entertainment. But recently, I’ve realized I’m finding lessons and inspiration for my writing in these shows.


The excited itch the designers get when they sketch, and the fevered way they run around Mood collecting fabric seems familiar.  I have that same feeling when an idea for a new picture book pops into my head. I sketch characters instead of hem lines, plot outlines instead of patterns, and consider setting instead of fabric.  I may not possess the skill to turn yards of fabric into jaw dropping outfits, but I feel a kinship with the creative process of the Project Runway designers. That connection validates my assertion that I, like those designers, am an artist.

When the designers put their works in progress up for Tim Gunn to critique, I relate to the look of fear mixed with hope that flashes across their faces. I feel that same play of confidence and terror when I share my manuscripts with critique partners, agents, and editors. In that instant, you are as equally convinced that your work is brilliant as you are sure that it stinks. You’ll watch designers hold their breath for that first telling comment. And as I see how they react to Tim Gunn’s feedback, there is often a direct correlation to my own responses. But which responses make the most sense? Produce the best outcome?

I’m as intrigued by the designer who takes a critique at face value, rips out stitches, and starts over, as I am by the artist who holds firm with a righteous commitment to their design decisions. As writers, we have to assess which bits of feedback require a revision, and which we can ignore. Do we cave in to criticism too quickly and scrap good ideas? Or, do we defend too staunchly and miss the message crit partners are making? You can evaluate your own attitude toward criticism from the comfy voyeur couch and perhaps, in the words of my fellow blogger Amanda, you will conclude that it is “always the people with the humble and teachable heart who make it to the end”.   Those designers who accept criticism with an open mind and a willingness to learn are often the most successful.

But, despite how open hearted and humble we are, negative feedback, no matter how constructive, has the ability to rattle our confidence. You can see that as the designers react to unflattering comments from Tim Gunn and the judging panel.  It’s fascinating to watch what happens to the designer and the design process when it is interrupted by criticism. I find solidarity in the anguish of designers whose work is trashed and courage in the fortitude of designers who persevere despite a poor critique. As writers, we can easily be knocked off course by a rejection letter. But, if you watch an episode of Project Runway, you will applaud those designers who keep plugging, who take a cleansing breath and keep creating. And to those who take in the feedback and use it to learn and grow. Often, you will see that a challenge or two later they are reveling in praise. In cheering for them, you will be cheering for yourself.

There are so many connections between your writing and Project Runway. When Tim Gunn and the judges say “is this you as a designer?” you’ll know they are talking about voice. Is your manuscript reflective of who you are as a writer? Are you in your manuscript?

When the designers can tell the judges, with great detail, about the person they are designing for and where the garment would be worn, the garment is almost always stronger. In writing, you know this is about character and setting and about knowing your reader.  You might jump up off the couch and scream, “I know just what you mean!” and it will be inspiring.

Watching Project Runway has helped me to recognize that I can find inspiration and courage in the journey of artists who work in different mediums.  It has given me a mirror from which to judge my own creative process, and my own response to feedback, and I am a better writer for it. 

And really, if you need a relaxing way to improve your craft – what could be more fun than an episode of Project Runway? 

​by Francine Puckly

I have been a Lifetime Member of Weight Watchers for 27 years. Recently at our weekly meeting, a member who has endured several bumps and challenges in her year-long journey shared this story.
           
Her husband asked if she planned to attend the group meeting the next morning. She said, yes, she did. He said, “It takes a lot of your time, doesn’t it?” She thought about the diligence required for the food and exercise journaling as well as preparation of wholesome, nutritious meals, and responded, “Yes. Yes, it does.” To which he said, “It’s been an entire year. I’m not really seeing much of a difference.”

We gasped, cried out with indignation, and offered to knock out his front teeth, amongst other things. But she was steady in her response and her belief in herself. “I told him—‘Look at you. You joined Weight Watchers with me, lost 45 pounds, quit going to meetings, and proceeded to gain 75 pounds. Imagine where I’d be if I had given up!’”
           
Her story struck a chord with me from a writing standpoint. (It was more like a slap across the face, actually.) This week as I prepared to attend the SCBWI Winter Conference in New York City, an event that marks my tenth year on the writing journey, a little voice inside my head whispered, “I’m not really seeing much of a difference here.” Another conference. Another year that came and went without a publishing contract.
           
To the outside world, by traditional measures of success, there have been no visible changes to my writing experience. I’m still the woman without a ‘real job.’ I have no steady income. People aren’t lining up to get my autograph. Yet every year I remain optimistic and think, “This is my year.” But every year so far has not been my year. When you hope and dream for recognition of your effort, it’s easy to start thinking that you’re wasting your time.  
           
I applaud my Weight Watcher friend who shouts to the world, “Hey! Just because you can’t see it doesn’t mean that change isn’t happening!” I have decided that I, too, will adopt her stubbornness and choose to evaluate my progress on a different scale. In doing so, I realize there are a great many steps I’ve made toward success. My characters, plot, dialogue, and settings are far more refined and polished than they were ten years ago. I am consistently blogging and offering thoughts and advice to colleagues in the writing world. I have developed a handful of presentations and taught a workshop at a regional writing conference. I designed and posted a new website. I have completed three full-length novels which included numerous drafts each. And even more importantly, I’ve made lifelong friends along the way.

So, no. I haven’t achieved success by the traditional measures. Yet.
           
But we do not have to accept that a publishing contract is the only thing that defines our success. We must celebrate the development of the writer, not just the final product.
           
One of my favorite quotes is from Markus Zusak’s novel, The Book Thief. “It’s much easier, she realized, to be on the verge of something than to actually be it. This would still take time.”
           
​Those words ring true for the artist. Because imagine where we’d be if we had given up.