By Annie Cronin Romano “Where’s Papa going with that ax?” said Fern to her mother as they were setting the table for breakfast. “Out to the hoghouse,” replied Mrs. Arable. “Some pigs were born last night.” “I don’t see why he needs an ax,” continued Fern, who was only eight. As you probably know, the above excerpt is the opening of E.B. White’s Charlotte’s Web, a classic in children’s literature. When I was a child, it was one of my favorite books. When I read the first page and realized those cute little piglets could be in danger, I kept reading. Fern’s concern about a threat to the piglets is established right away, and I had to find out if and how Fern could stop this horror from occurring. I was hooked. The same goes for picture books I love. I’m compelled to read past the first page in picture books whose openings create a strong curiosity about a situation: On a cold afternoon, in a cold little town, where everywhere you looked was either the white of snow or the black of soot from chimneys, Annabelle found a box filled with yard of every color. In these first lines of Mac Barnett’s Extra Yarn (illustrated by Jon Klassen), I was pulled in by my wonder of how this colorful yarn was going to affect the plain little town. Although both these examples of opening lines grabbed me quickly, others may need to read further to know a book is a keeper. In novels, authors have some time to lure the reader in. A writer of longer works can take a few paragraphs to set the tone, or even a few pages to a chapter or so to bait the reader into the character’s voice or world. But in picture books, you have the first page. You’ve got to hook ‘em fast and come out swinging. It’s vital to the life of your story. Be it picture books or novels, if the author doesn’t capture the reader early on, the chance of losing the reader increases. A lot. But what elements make a strong hook? What is it that pulls the reader in? To help you with examining your openings, I am going to give you an assignment. Don’t worry. There’s no exam at the end. I’ll use the honor system!
This exercise can help clarify what makes a strong hook and what doesn’t. Study the first pages of other works to help make your book’s opening the strongest and sharpest hook it can be. Then reel ‘em in! ~Annie
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~ by Amanda Smith Last week we focused on using basic plotting techniques to help organize scenes that were random and unconnected, like a hand full of beads. If you missed last week's post, you can find it here. What if you're done drafting, though? Does that mean you have no more use for plotting techniques? Writers often use note cards to block out scenes. For me the note card technique worked well after I finished my second draft. I combined the information from a mapping workshop, taught by Katie L. Caroll (Elixer Bound) and a workshop on non-sequential writing by Lynda Mullaly Hunt. (One for the Murphys, Fish in a Tree) to come up with a note card that served my purpose for revision.
These note cards against my wall helped me see the entire novel at one glance. I was able to check the balance and switch-off between narrators. Imagine my joy when I realized my main characters narrate exactly the same amount of scenes! These cards showcased the rising action, emotional arc, and the function of each scene. I could see where to change the order of scenes to build tension or give a breather. They showed where to add a scene or when a character fell out of the story. As I studied these cards, I was able to make subtle changes to strengthen the plot. I added bits of dialogue or "what ifs" on sticky notes. When I went back to my manuscript I could try out these new takes to see if they worked better. The note cards served as a place for ideas and thoughts to land when I couldn't get to my manuscript right that moment. Revision time is also a good stage to implement character interviews, another plotting technique. There are multiple character interviews online that you can tweak to meet your needs. After filling out interview questions, add descriptors and specifics to enhance characters, and check for character consistency. I found it very enlightening to also interview all secondary characters. Going back and adding the smallest of details can enrich secondary characters and make them feel like real people.
Many authors have a treasure trove of plot development strategies on their websites. Don’t feel overwhelmed by them. Take these plotting devices and adapt them to work for you and your process. And it is a process! Use some before you start, some during drafting, and some during revisions until all your scenes are perfectly placed like beads on a string. ~by Amanda Smith The first time I saw plot planning templates I was simultaneously impressed and petrified. These templates assumed that the writer already knew a whole lot. All I had when I started my novel were a handful of characters, an idea for conflict, and only a fleeting emotion I felt after waking up from an angsty dream. We discover the story, the characters, the PLOT as we go. While some writers are brilliantly organised, writing a novel from beginning to end, there are just as many who write non-sequentially. Does that mean these fabulous plotting techniques are not for us scatterbrains? Not at all. These templates and techniques can be used throughout the first couple of drafts. So how do you plot when you write at the whim of the character voices in your head? The following strategies helped me string numerous non-chronological scenes, like beads on a necklace, into a viable story line.
Join us next week when we'll look at using other plotting tools and techniques during the revision stage of your project. In the mean time, arm yourself with a pack a sticky notes and a blank wall and you'll find that plot planning templates are less petrifying and more productive.
by Francine Puckly My fellow 24 Carrot Writing bloggers and I just returned from the SCBWI New England spring conference. Having seen each other all weekend, we were tempted to postpone our monthly goal-setting meeting scheduled for the next morning. But knowing re-entry to regular schedules can be tricky after a jam-packed weekend, we kept our monthly appointment. We convened over a cuppa, and Kelly had the brilliant idea to list our top three takeaways from the conference. If you recently attended this conference, a long workshop, or a webinar geared toward your writing and illustrating life, this exercise is invaluable. It might take weeks—and possible months—to employ all the new tricks and tips discovered at the conference and even longer to practice and hone all the new skills learned. But what are three new goals you can enact today to get an immediate bounce from the conference? Kelly calls these your do-it-today takeaways!
So instead of stuffing your notes into a drawer, comb through them! Glean nuggets of advice that will help you strengthen your writing. Capitalize on the energy and optimism you bring back from meeting with colleagues and peers. It’s easy to slip back into former routines if we wait too long to take stock. So don’t wait! Capture those do-it-today ideas now! - Francine by Francine Puckly With a chill in the air and notoriously unpredictable weather, Opening Day is upon us. Hot dogs, popcorn and peanuts, new lineups, and impeccable turf await. A few years ago Ted Berg penned an article entitled, “The 10 Best Things about Opening Day” (http://www.usatoday.com/story/gameon/2013/04/01/10-best-things-about-opening-day/2041583/). There’s nothing quite like a new baseball season, and there’s nothing quite like the feeling of beginning a new project or novel. And here’s how Berg’s Top 10 applies to starting a brand new novel! 10. Fresh Looks In baseball, this means it’s time to sport new uniforms, but for me and my new novel, we’re showing off new software (Scrivener), flashy new composition notebooks, my favorite pens and Sharpies, and a multitude of jewel-toned post-its I purchased in the off season. My reusable foam plot-planning poster board is ready to take the field. This is the best my writing space will look for months and maybe years! And wait! What’s that sound? I think the organist is playing the first few bars of “Take Me Out to the Book Store.” 9. Ballpark favorites again available Berg said that, “opening day provides an opportunity to eat hot dogs without being judged.” And for writers, the first draft is our opportunity to slap down all of the crazy ideas that come to mind as we crank through the what-ifs of a new story littered with a cast of new characters. No limiting expectations, no reviews, no analyses. It might be the only time in our writing process we’re not worried about the agent or editor, the reader, the critic, missing story parts, or the dilemma of what stays and what goes. 8. Spring training is over So is your research. At least for now. It’s time to play ball…er, write the draft. That means don’t stop to research. Flag any missing pieces of information with those pretty little post-its you bought. 7. Bunting As MLB and various ballparks roll out elaborate décor, you might look to playlists with songs that suit your characters or intended plot, a collage of magazine clippings or photos that depict character and setting, or Pinterest files to inspire your writing. Adorn your workspace with helpful details. I have a collage of photos I’ve taken and/or downloaded from the Internet posted in my writing area. Whenever I feel stymied on plot, I study those for inspiration. 6. The pageantry First pitches, national anthems, and introductions of every player, coach and trainer. Writing pageantry is introducing each room, character and supporting character. We plunge into detail the way Milwaukee’s Bernie Brewer plunges into a huge mug of beer. We immerse ourselves in detail. The rooms of the house. The landscape. The shingles and siding. Every character. 5. Ridiculous “pace” stats “For one day in 1994,” Berg wrote, “Cubs outfielder Karl ‘Tuffy’ Rhodes was on pace to hit 486 home runs in a season after a three-homer opening day outburst.” Nobody hits 486 home runs in a season. And those 50,000 words for NaNoWriMo? That’s 600,000 words a year, or ten+ middle grade novels a year. Woo hoo! And those 41 ideas you had for PiBoIdMo last year? You’re going to write over 400 picture books this year! NOT. They’re impossible numbers to sustain, but that doesn’t mean we can’t rejoice in getting off to a ridiculously fast start as we leave our inner critic behind. 4. Skipping school or work Playing hooky to do what we love is easy at the beginning. At the start of a project we are willing to decline other opportunities so that we can take our laptops and notebooks off to write in seclusion. But eventually life’s demands creep in and the next thing we know we’ve missed four days (or maybe even four weeks!) straight. What we can learn from playing hooky or skipping other commitments is how to make our writing a priority year-round, not just at the launch or as we approach the finish line. Set some goals, people! And reward yourselves when you hit them! (http://www.24carrotwriting.com/-blog/give-yourself-a-carrot). 3. All of the aces Who are the heavy hitters in your story? Make sure you have a great team of characters to support your plot. 2. Every team is undefeated. So is your project. No rejections. ’Nuff said. And the number one thing about Opening Day? 1. They play baseball. And we write novels. Or illustrate books. We have the coolest jobs on earth. Now get out there and throw the first pitch! by Kelly Carey During his Oscar acceptance speech for Best Animated Feature, Pete Docter, the director of Inside Out, made me realize that I’ve been wasting my bad moods. I don’t write when I’m mad, angry, upset or scared. Instead, I wait to be in the perfect mood before I sit at the computer to write. What a huge mistake! Every mood should be my perfect writing mood. Tapping into all my emotions, by writing when I’m sad, mad, or nervous, instead of just relaxed and happy, will give my characters greater emotional depth and their stories more range and universal appeal. I should use the entire Inside Out mood board. Thanks to Pete’s words, I will no longer wait for both a quiet house and a quiet mind to write. He made me realize that I am missing out if I don’t grab the opportunity to write when I’m annoyed, upset or hurt. As Pete advised, “there are days you’re going to feel sad…angry…scared. That’s nothing you can choose. But you can make stuff. Make films, draw, write – it will make a world of difference.”
I am done using the excuse of my mood as a reason not to write. Instead, I’m going to embrace my mood as a reason to write. As Pete Docter said, “we are so lucky because we get to make stuff”. Funnel all your feelings into your characters and their stories; use your mood as an impetus to capture the full range of human emotions. As a bonus, when you have gifted your characters with your less than perfect mood, you will hit save on the computer and whistle away from your workspace feeling accomplished, and happy. In the words of my fellow blogger Amanda, "It's like exercise. Just less sweaty!". Writing in a bad mood will not only enrich your writing, but improve your day. Now that’s happy writing. ~ By Amanda Smith February 24 was World Read Aloud Day. As part of my second grader’s class activities, parents and other guests were invited to read to the students. Even though I had only 15 minutes, I arrived with arms full of my favorite picture books to share with these excited little ones. What a glorious start to my day! I had a diverse selection of books, but it soon became clear which ones got the kids’ attention. This caused me to ponder: What makes a great read-aloud book? Josh Funk, author of LADY PANCAKE AND SIR FRENCH TOAST, and PIRASAURS! once said that a picture book is actually a performance piece. If you think about it, most picture books are read aloud by adults to children. And following this logic, picture books should thus have clear stage directions. As writers, how do we cue our readers? We have all read books where the voice of a character is so clear, you know exactly how it is supposed to sound. How can one read SKIPPYJON JONES ( Judy Schachner) without one’s muy muy mejor Spanish accent? Or not use one’s Mr. Miyagi voice for Master Zutzu in WINK, THE NINJA WHO WANTED TO BE NOTICED ( J.C. Phillips) ? “The Loudest cricket is the first to be caught.” The cadence and rhythm of the language itself directs the reading. Sometimes, as in UNICORN THINKS HE’S PRETTY GREAT (Bob Shea), the typography gives clues as to where the accent should be. Printing Unicorn’s words in rainbow colors with little sparklies around them, brings out the sweetest of voices from the reader and helps distinguish between Unicorn and Goat’s voices in places where dialogue isn’t tagged. In WOLFIE THE BUNNY (Amy Dyckman), Dot’s desperate “He’s going to eat us all up!” is emphasized by using bigger capitalized words. Even a non-reader will look at that text and know Dot is yelling. Punctuation is another tool a writer can use to direct the reading. Tara Lazar’s THE MONSTORE starts like this: “At the back of Frankensweet’s Candy Shoppe, under the last box of sour gum balls, there is a trap door. Knock five times, hand over a bag of squirmy worms, and you can crawl inside… THE MONSTORE.” All those commas, those stacked phrases, the ellipse, and the use of the power of three (times two) masterfully build so much tension on the very first page, that by the page turn, your kid will be in your lap. And you will be reading in your very best horror-movie trailer voice. Other times the stage directions come in the form of negative space. Negative space in language is created by pauses and silence. In RAGWEED’S FARM DOG HANDBOOK (Anne Vittur Kennedy), the humor of the delivery lies in the variation of long and short sentences. The short sentences (“Pigs lie in the mud all day and get bigger and BIGGER. That’s their job. That’s not your job. Don’t lie in the mud. Mud is lovely.”) allow for a deadpan delivery. As we know, comedy is all about timing and Kennedy brilliantly helps her readers deliver that timing with her sentence structure. Whether it is voice, cadence and rhythm, typography, rhyme, negative space, or punctuation, these tools help readers read our books the way we intended. This is why it is so important to read our works in progress aloud. And to read books in print aloud. And to read aloud to children, bringing printed language to life. I will be more aware of these tools as I work on my own manuscripts and hopefully, one day, they will become great read-alouds. In the meantime, is there a job where I can just read aloud to kids? by Annie Cronin Romano So often we start a project with an idea, a glowing nugget of inspiration, and we decide immediately the kind of book it will be. It's going to be a picture book. Yes, definitely a picture book…about flying sandwiches. Excellent! Off we go! We brainstorm, diagram, scribble, and plot. We develop our characters, our setting, and our pacing. We draft a beautifully crafted 550 word picture book about sandwiches that fly and submit it to our critique group. And they tell us it should be a middle grade novel. About a food fight. *Head-desk* Why should we turn our picture book draft into a novel? Do we have to? Our critique group is not the boss of us, after all! True. True. But consider the reasons behind the suggestion. Is it because the setting or topic would appeal more to the older age group? Maybe the characters would present more strongly with an older voice? What about the plot? Perhaps it is one that is better suited (or even needed) in the older market. Or maybe your critique partners thought there was more to explore than you could do justice to in a shorter format. What if you played around with it, not as a middle grade, but as a chapter book? What if… As participants in critique groups, we often expect the critiques to focus on the story itself. Would our character really say this? Are we showing or telling? Watch the pacing. This is working. That is not. What we don’t usually expect is for critique partners to suggest changing the target audience. But sometimes it's an insightful idea. A middle grade story may work better as a picture book or a young adult novel. A young adult draft may be better suited as a new adult story. What the writer has in mind for a story often can benefit from considering all possible audiences. The first instinct may still be the best. But give it due consideration. Always ask, "What if…" So the next time you sit down to work on a story, be it a fiction picture book or young adult science fiction thriller, look at your idea from all angles. It could be that your flying sandwich would make an excellent food fight. ~Annie by Annie Cronin Romano For writers, receiving constructive feedback is one of the key factors to editing and revising our work. We join critique groups, participate in online manuscript swaps, and sign up for professional editing services. Sometimes even editors and agents we've submitted to will provide feedback. They might indicate what didn't work for them or offer suggestions. All this feedback is fodder for the revision file. We cull through it, often using trial and error, to figure out which suggestions improve our manuscripts and which don't. But once in a while, we get harsh feedback, an unfavorable critique, which strikes a nerve. A deep nerve. And it stings. Those manuscripts are our babies and we are protective of them. A negative analysis can make us question our story or even our writing talent as a whole. This is usually because the critique was not helpful and constructive. So what do you do when you receive feedback that's not presented in a beneficial manner? How can you turn that disappointment at a poorly presented critique into a positive step on your writing journey? A few months back, I received a detailed, yet rather harsh, rejection following a submission. It was clear the agent had read the full manuscript, which was excellent. But the criticism, helpful as I’m sure it was intended to be, was delivered in a off-putting way. It was a list of I didn’t like a, b, and c. By the end of the letter, my novel was bloodied and beaten. At least to me. I couldn’t be objective, and my writer spirit was crushed. Enter one of my amazing writing group ladies, Kelly. She read the letter, sympathized with me, and then, in a magical, extraordinary way, helped me turn the criticisms into constructive advice. She turned every “I didn’t like…” into “Try doing ‘x’.” She translated each negative into a positive, helpful piece of advice. In doing so, Kelly enabled me to use the rejection as a revision tool rather than a reason to give up on my story. Sometimes you will get critiques, or even unexpected submission feedback, that is poorly delivered. Rather than being useful, it may come across as rough and disparaging. Get out your magic wand, or favorite pen, and invert the negatives into positives. Turn the "I don't likes" into "It might work better if..." Hopefully you're blessed with those who can provide you with constructive feedback that is beneficial to both your manuscript and your growth as a writer. But if you get one of those "tear apart" reviews, take a deep breath and step away for a bit. Then take a step forward and turn those negatives into positives, and even the "bad" feedback will help you make your writing its absolute best. ~Annie ~ by Amanda Smith
Last week as I was doing my other job, I noticed a strange phenomenon. I was a substitute teacher in a history class, where the students were working on a creative project. They had to research a historical figure; draw pictures of what this person might have been thinking; and write a first-person paragraph for each picture, describing the thoughts and emotions of this person. The students all had devices to help them with their research. I loved the idea of this project which was geared towards the development of critical thinking skills. As I walked between their desks, admiring their pictures and monitoring their internet use, I was shocked to discover what they were googling. No, none of that. They were looking up clip art for tomb stones and Jolly Rogers, why ships in general sink, and how to draw a stick girl! Now, that one might have started out as a joke. Student 1: I can’t even draw a stick figure! Student 2: Google it. The joke is funny. What was not funny, was that he actually googled it. And drew his stick figure girl exactly like the one on the screen. Student 3: I can’t remember what the British flag looks like. May I Google it? Me: Use your text book. I’m sure it’s in there somewhere. Student 3 flipped aimlessly through his text book. Me: Use the index. It’s called the Union Jack. Student 3 turned to back of book, looking in appendixes. After watching him page through his textbook for what seemed like forever, and considering the amount of laptops I had closed for frivolous use of the internet, I allowed him to google it. Student 3: (Face palm) I cannot believe I forgot this is what it looks like! Student 4, cracking up at Student 3, places paper on computer screen and traces Union Jack. By this time I was overwhelmed by the stench of perfectly good brains rotting all around me. Now, don't get me wrong, I have no problem with the use of technology or the internet. The internet is a wonderfully helpful tool. It becomes a problem when it is used as a substitute for thinking, innovation and imagination. Much has been said about the "Google effect" and how it is changing the way we apply our minds. Writer Paul Miller, after taking an entire year off from the Internet, says that we have to resist becoming blobs who "exist on the internet instead of getting into the Internet, using it as a really cool tool, and then putting it away so (we) can focus on writing or something." That day in the classroom, I was saddened by the fact that kids who had been given an opportunity to be original, had chosen to be mundane. I was flabbergasted by kids being so connected that they are completely disconnected from their own thoughts. But most importantly, as a writer, I was concerned that they were disconnected from their own voices. And I wondered: Is this what our future looks like? Where is the creativity? Innovate, don’t imitate Dan Santat whispered in my ear. Old school, in big red letters, I wrote on the board: INNOVATE, DON’T IMITATE. After I googled Dan Santat on the teacher’s computer, I cast his lovable, friendly face on the white board with the overhead projector (Hey, it’s cool technology.) And I told these students the story Dan shared with us at the 2015 NESBWI Spring Conference. About how he was working for Disney. And how he realized his art was being influenced by his environment until he was merely recreating existing Disney characters. How he left this “dream job” and threw himself into his art and discovered his own voice. And how he won the 2015 Caldecott Medal for THE ADVENTURES OF BEEKLE. Because he dared to innovate. I hope those kids heard. But my heart leapt a little, because, as I am in the midst of revision, Dan was also speaking to me. Like those students, I am presented with the opportunity to be creative every time I sit down to write. Am I original? Am I true to my voice? Am I inventing? In writing and revision, how can we be sure we are innovative?
Dare to discover the innovative, creative spirit that dwells within you. Dare to go on a journey to find your voice. No Google required. |
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