Tag Archives: scbwi northern ohio

The time might not be now

After attending my first writers’ conference, I came away inspired, and with a bucketload of great ideas! Of course, I won’t post the content of anyone’s actual presentation, as that’s not mine to share. However, I hope you benefit from these thoughts on what I learned, and some ideas on how I plan to apply them in my own journey. This is the fifth in a series of posts on lessons learned from the SCBWI Northern Ohio 2017 Conference.

Lesson 5: “But do we need to know it now?”

For my fifth lesson, I opted to do a one-on-one critique with Linda Camacho (@LindaRandom) an agent with Prospect Agency.

We had a lovely 15-minute chat that went all over the board, and much of it was personal to my story. However, I’d like to share a tip she suggested (in regards to showing rather than telling, which seems to be a problem of mine) that really stuck with me and felt universally helpful.

When you’re looking at the amount you’re telling in terms of backstory, ask yourself these two questions:
1) Is this something we actually need to know to further the story? If no, delete. If yes…
2) Do we need to know it now?If no, delete. If yes, find a way to work into dialogue if possible, or pare it down to bare bones.

Of course you want to tell all of the nuances of your character that you spent hours and days and weeks building. But if the readers don’t need to know something, it’s okay to just hint at it, or leave it out altogether. If they do need to know it, are you giving it in an information dump? Does it even really make sense to be in that particular part of the story?

Long story short:

Don’t dump. Yes, you want to get your key points across, but resist the urge to drop backstory on your readers like a load of bricks. Parcel it out, in conversation as much as possible, and only give the most important tidbits. Save the reason your character will only wear white socks for a time when that fact actually helps forward the story.

Result: I’ve got some editing to do. Not news, but now I have one more tool to help me do it.

I’ll keep you posted as I make progress. In the meantime, let me know a favorite nuance you created for a character that you can’t find a way to work naturally into your story.

Happy editing!

Photo by Alex Holyoake at Stocksnap.io

He who smelt it… had a more interesting story.

After attending my first writers’ conference, I came away inspired, and with a bucketload of great ideas! Of course, I won’t post the content of anyone’s actual presentation, as that’s not mine to share. However, I hope you benefit from these thoughts on what I learned, and some ideas on how I plan to apply them in my own journey. This is the fourth in a series of posts on lessons learned from the SCBWI Northern Ohio 2017 Conference.

Lesson 4: “Show, don’t tell.”

My fourth session of the conference was a self-editing seminar run by Gloria Adams and Jean Daigneau of Two-4-One Kid Critiques. They offer services to help aspiring authors edit their manuscripts ahead of submission or self-publication.

This is not the first, nor will it be the last, session I’ve attended on self editing. Each time I get additional nuggets that make me a better editor. Though they gave out a plethora of great tips, most of them lead back to the same point: show, don’t tell.

One key example of this was action verbs. They began the session talking about using the strongest possible word. Did your character cry? Or did she weep? Or were her shoulders shaking with sobs? They recommended searching your work for passive verbs (by searching for words like “was” and “is”) and replacing with better active verbs.

Another was adding sensory-specific imagery. Did your character bite her lip? If so, did she bite hard enough to draw blood? What did the blood taste like? What could she smell? What did her teeth feel like, pricking into the soft skin of her lip? They recommended highlighting sensory descriptors throughout your work with different colors so you can see how often you use each of the senses.

Don’t just stop at “pretty.” What do the flowers smell like? How do they feel in her hands? What do they remind her of?

Long story short:

Editing is a process with many steps, but it’s do-able if you look for more ways to show and not tell. They gave plenty more examples of ways to self edit, and you can even hire professionals, such as the two amazing ladies who gave the talk, to help you through the process.

Result: I’m certainly going to start rooting out passive verbs and looking for ways to insert more sensory language in my own manuscript.

I’ll keep you posted as I make progress. In the meantime, please feel free to post your own self editing tips, or share an egregious example of weak verbs or boring language you were able to move past once you edited.

Happy editing!

Notebook Photo by Mona Eendra on Unsplash
Tulips Photo by rawpixel.com on Unsplash

Agents are people, too.

After attending my first writers’ conference, I came away inspired, and with a bucketload of great ideas! Of course, I won’t post the content of anyone’s actual presentation, as that’s not mine to share. However, I hope you benefit from these thoughts on what I learned, and some ideas on how I plan to apply them in my own journey. This is the third in a series of posts on lessons learned from the SCBWI Northern Ohio 2017 Conference.

Lesson 3: “Insulting the agent you’re querying, before or after the no, is a bad idea.”

I attended a session on writing a good query letter with agent Jennifer Wills (@WillsWork4Books). While I’ve attended other query letter talks and walked into the session thinking I already knew most of what she was going to say, I was hoping to gain a few good nuggets. I was blown away by the great amount of information she shared, and new angles on some of the things I’d heard before. My notes pages are packed with tips and takeaways, and I got more than one good laugh from her session.

Though there were plenty of takeaways, here are two key points that stood out for me:

1) Subject lines

I hadn’t heard, nor even thought about, the subject line of a query email. Combing through hundreds of emails, some of which are queries and some not, Jennifer suggested that making it short, sweet, and clear was the best way to go. Her ideal email subject line would be “Query: Title/Author/Genre” and the name of the conference where you met, if applicable. That’s it.

2) There’s a long list of “don’ts”

Jennifer had us giggling at the list of things NOT to do, from sending a query that asks if it’s okay to query, to telling the agent that your book still needs work but you’re sending anyway. (Hint: if you think your book still needs enough work to be worth mentioning, it’s not ready to send.) But the one that completely astounded me is how rude some people can be towards agents.

She shared a few stories, and we sat in shocked silence hearing how some people start rude (you’ve never seen anything this good, and you’d be stupid not to take it) and others get rude upon rejection (you must be stupid since you passed up this opportunity, and you’ll never get it again).

Her advice was to assume that the agent is also a person. That they are doing their best to do their job. That their rejection isn’t personal, but there are more queries than there is time to do anything about them, and you’re essentially asking a stranger to do something for you.

In the end, it’s like a relationship – just like a person you want to date, the agent you want to work with doesn’t owe you anything. If they reject you and you think it was undeserved, then they’re probably not the right match for you. And badmouthing them, to their face, to your friends, or on social media, isn’t going to make it better. At best, it makes you look bad. At worst, others will stay away because you seem like someone who won’t treat them well.

Yep, rejection hurts. But that’s no reason to burn bridges.

Long story short:

It turns out agents are actually just people. They put their pants on one leg at a time, just like the rest of us. They have full email inboxes, just like the rest of us. And they don’t like to be yelled at or insulted, particularly by someone who’s asking for something.

Result: I was never going to be intentionally insulting, but now I’m going to make it a point to be especially nice. Plus, I know what my email subject line is going to be.

I’ll keep you posted as I make progress. If you have any great stories about querying you’d like to share, I’d love to hear ‘em.

Happy querying!

Photo by Nonsap Visuals on Unsplash

The details that make the story

After attending my first writers’ conference, I came away inspired, and with a bucketload of great ideas! Of course, I won’t post the content of anyone’s actual presentation, as that’s not mine to share. However, I hope you benefit from these thoughts on what I learned, and some ideas on how I plan to apply them in my own journey. This is the second in a series of posts on lessons learned from the SCBWI Northern Ohio 2017 Conference.

Lesson 2: “I did not need to think of a new story. I only needed to create the details.”

My second lesson came from opening remarks given by Newberry Medal Award-winning author Linda Sue Park (@lindasuepark). The first thing you should know about her is that she’s really funny and a great storyteller. Second, while she has given a voice to Koreans and Korean-Americans in many of her stories, she also loves baseball, cooking, knitting, and many other things that make her unique.

She shared a quote about two basic plot structures (attributed either to John Gardner or Joseph Campbell depending on the reference you use):

  1. A stranger comes to town
  2. A hero goes on a journey
Is she a hero going on a journey or a stranger coming to town? You decide.

What she loved about this was the freedom that comes with it: if there are indeed only two kinds of plots, all she had to do was fill in her own details. She encouraged passion for the details, and pointed us to the Fuse8 blog by Librarian Betsy Bird (@fuse8) as an example of details (in this case knitting needles) that were wrong.

Her point, and well taken, is that the people who are passionate about a particular field will definitely notice when you get it wrong. If you’re going to write about something that isn’t your field, you should do so much research that you become a part of that community. And you almost certainly already have passions you could write about that you would be frustrated with if someone else got wrong. The devil, so we’ve heard, is in the details.

Long story short:

You’re unique, and so am I. Though I had heard it before, I was reinforced in the knowledge that each of us has our own story to tell, and we are the only ones who can tell it our way. We should write something that ignites our passion, that we spend the time to know well.

Result: I’m going to continue to write my passion, and know that telling a story my way is the only way I can, or should, try to tell it. And I’m going to be sure to get the details right.

I’ll keep you posted as I make progress. In the meantime, please share something you’re passionate about that has come through in your writing. Or tell me your story about the girl in the photo above…

Happy writing!

Emotion vs physical action in writing

After attending my first writers’ conference, I came away inspired, and with a bucketload of great ideas! Of course, I won’t post the content of anyone’s actual presentation, as that’s not mine to share. However, I hope you benefit from these thoughts on what I learned, and some ideas on how I plan to apply them in my own journey. This is the first in a series of posts on lessons learned from the SCBWI Northern Ohio 2017 Conference.

Lesson 1: “The way readers connect to your character is through emotion.”

My weekend began with an intensive workshop called Plotlines and Heartlines given by Jill Santopolo (@jillsantopolo), an Editorial Director with Philomel books who also authored the Sparkle Spa series and an adult contemporary novel called The Light We Lost. The main goal of the workshop was to bring our own story ideas and work through the action as well as the emotional journey our main characters

Is she hungry for love, or a sandwich? Make sure readers can connect with your characters’ emotions.

As we worked through the five act plot structure and the emotional arc of our stories, I discovered something very important:

My character had nothing driving her other than my keystrokes. Plot structure isn’t enough. If the protagonist isn’t following a desire then she’s just floating along through the story. Sometimes a character’s deepest desire might be hidden from herself, but as the writer I need to know what’s driving her, and I need to make sure readers know. Turns out, the unspecified desire and drive might be why my story feels so slow in some places.

Result: I knew it deep down, but I put into writing what it is that drives my character. Now I need to go back through and make it apparent to the reader. I need to make sure the emotional arc is tied throughout, and that the reader has reasons to care about the character.

I’ll keep you posted as I make progress. In the meantime, let me know how you feel about whether your character needs to know her own drive, or just share what’s driving your characters.

Happy writing!