NESCBWI 2012 Conference

It’s closer than you think….

Here it is! NESCBWI 2012 "Keeping it Real" Conferenece

I can only give you a glimpse of things to come but we did change things up.

Registration opens January 23, 2012. Get your manuscripts and agent quick queries ready! Deadlines for submitting for critiques close early for the upcoming conference due to the dates being in April.

Kudos to Jen Carson for all she's done with her work on the newest version of the postcard and in such a teeny-weenie amount of time.

Calling ALL Volunteers for NESCBWI 2012!

We need you to make 2012 the best conference ever!

Only 251 days until the conference.

Want to volunteer?

Click here to complete the volunteer survey.

The New England SCBWI annual conference is entirely organized and run by volunteers, so help is vitally needed and greatly appreciated. This is one of the largest regional SCBWI conferences, and last year we sold out the conference in two weeks. This year, the theme is "Keeping it Real: Reality and World-building in Fiction, Nonfiction, and Illustration" and the conference will take place April 20-22, 2012 at the Sheraton Springfield Monarch Place Hotel, Springfield, MA.

Please complete the conference volunteer survey if you are interested in helping out. Getting more involved in the NE-SCBWI conference is a great way to meet accomplished authors, illustrators, editors, and other publishing professionals.

Volunteers are needed to assist with many different aspects of the conference. Conference weekend volunteers are responsible for tasks during the conference weekend only, and will be trained that weekend. We also need volunteers to help select workshops for the conference. The Workshop Selection Committee will meet on October 2, 2011 in Holden, MA to choose the best workshops out of all the proposals submitted.

We are also seeking volunteers to take on roles with greater time commitment and involvement. If you are interested in any of the following volunteer positions, please email nescbwi12@gmail.com with your full name, contact information, and a brief explanation of why you feel you would be a good fit for the position.

Open Volunteer Positions

Special Interest Group Coordinator

Special Interest Groups are informal discussions meant to promote networking and discussion on topics of mutual interest. For example, past Special Interest Groups have discussed writing fantasy, using Twitter, and digital illustration. The Coordinator will need to solicit topics for the groups, find and recruit volunteers to lead the discussions, create signage for the tables, and make sure that the event runs smoothly.

Contact nescbwi12@gmail.com if you are interested in this position.

Book Signing Coordinator

Authors and illustrators who present at the conference are invited to sign books. The Book Signing Coordinator is responsible for contacting and scheduling faculty for the signing, coordinating with the conference book seller to ensure that their books are available, and figuring out the best set-up for the book signing room, including line management.

Contact nescbwi12@gmail.com if you are interested in this position.

Assistant Critique Registrars

The Critique Registrar takes every manuscript submitted for a critique at the conference, organizes them by genre, and submits them to appropriate editors and agents. The Registrar also puts together the schedule of critique meetings. Assistant Critique Registrars will work with the Registrar to manage this process and deal with critique requests and scheduling issues. We are looking for volunteers who live in the Burlington, MA area.

Contact nescbwi12@gmail.com if you are interested in this position.

Open Mic Coordinator

Open Mic night was popular this past year, so we would like to offer this event again in 2012. The Open Mic Coordinator will plan the open mic night (or nights) and will be there to ensure that the event goes smoothly.

Contact nescbwi12@gmail.com if you are interested in this position.

Door Prize Coordinator

The Door Prize Coordinator will solicit prizes to give away during the conference weekend, organize the prizes at the conference, and come up with a fun, creative, and efficient way of conducting the raffle.

Contact nescbwi12@gmail.com if you are interested in this position.

Poster Showcase Coordinator

The Poster Showcase Coordinator organizes and runs the Illustrator poster contest at the conference. The Coordinator will come up with a concept for the contest, solicit prizes for the winners, present the prizes to the winners, and take charge of set-up and take-down of the contest.

Contact nescbwi12@gmail.com if you are interested in this position.

Portfolio Critique Coordinator

Art Directors give portfolio reviews at the conference. This Coordinator will seek out Art Directors who are interested and available the weekend of the conference to critique portfolios, and will manage the portfolio critique schedule.

Contact nescbwi12@gmail.com if you are interested in this position.

Portfolio Display Coordinator

This year, we are interested in adding a location for illustrators to display their work. The Portfolio Display Coordinator will recruit illustrators to take part in the display, and will manage set-up and take-down of the room.

Contact nescbwi12@gmail.com if you are interested in this position.

NESCBWI 2012 Call for proposals

It's official! Today the call for proposals for the 2012 NESCBWI Spring Conference "Keeping it Real: Reality and World-building in Fiction, Nonfiction, and Illustration" is out. 

Reality doesn't often get the spotlight in the post-Harry-Potter world of children's literature, but even in fantasy or highly stylized illustration, a believable world is fundamental. Also, there is so much we all can learn from nonfiction research and writing techniques. Finally, how do you stay realistic and focused on your future in this rapidly evolving industry?

As always, the conference will have a strong focus on craft. This year, we are moving to a new venue with more space available for workshop sessions. We'd like to invite more small, hands-on workshops. Of course, larger lecture-style workshops are still welcome as well.

This is one of the largest regional SCBWI conferences, and last year we sold out the conference in two weeks. We welcome proposals from everyone. We also encourage artists and writers of color, those who are differently abled, and others from underrepresented groups to propose conference workshops.

What YOU Need to know: Important Information

Conference Dates: Friday afternoon through Sunday afternoon, April 20-22, 2012
Conference Location: Sheraton Springfield Monarch Place Hotel, Springfield, MA
To Submit a Proposal: Please complete a conference proposal form. Separate submissions are required for multiple presentations or workshop/intensive versions of the same presentation.

Proposal Due Date: September 16, 2011
Presenter Notification Expected: November 1, 2011

Types of Presentations: 55-minute workshops; 120-minute intensives

 
What are we looking for?

55-minute workshops

• Presentations that relate to our conference theme.
• Presentations that last 55 minutes in their entirety. When planning, leave time for participant questions and any required audiovisual setup.
• A range of presentations for all SCBWI members, including illustrators and writers in all genres.
• Leveled presentations. We are not trying to find one presentation that everyone can attend. Instead, presenters should direct material toward a specific experience level. For example, an "advanced" illustration presentation should not begin with "Why you should carry a sketch book," and a "beginner's" writing workshop should not address marketing a contracted novel. 
• Focused presentations with clear learning outcomes. These should be clear, tangible "final products" that attendees take away. Plan the presentation thinking, "I want participants to leave with these three tools or ideas." A few examples: ideas for a new direction or revision in their own work; increased understanding of a specific genre, style, area of craft, art media, etc.; a step-by-step plan of attack for marketing, revisions, problem-solving, etc.
• Hands-on workshops where attendees spend significant time in writing, illustration, or marketing exercises applying ideas to their own work.
• Lecture-style presentations  with information that participants can take back to their desks to ponder and play with. 
• Presentations that include a range of examples rather than drawing solely from the presenter's experience or body of work.
• Presenters who are published members of SCBWI, as well as editors, agents, MFA graduates, and other industry professionals. Past presentation experience is appreciated.

120-minute intensives

Intensive proposals should meet all of the criteria listed above for 55-minute workshops. Also consider the following:

• 120-minute intensives typically take place on Sunday, and there are fewer slots available for these workshops.
• Two hours are provided, so plan exercises or some interactive element in the workshop. An intensive should not only be a lecture.
• Past presentation experience and in-depth knowledge of the topic are required.
• Partner presentations are welcome.

Note: If you apply to present a 55-minute workshop or a 120-minute intensive and we feel your presentation may better fit the other format, we will let you know!

Selection Criteria and Topics

Every year SCBWI New England receives many excellent proposals, more than can fit into a conference schedule. Therefore, we must choose on the basis of experience, quality, variety, novelty, attendant costs, and other factors. Please use the NESCBWI Workshop Rubric for more explicit selection criteria and standards.

We would love to see presentations on the following topics. If you are an expert on one of these topics, we would love to see your proposal.

• Hands-on writing workshops: tools, tips, outlining, character sketching, etc.
• Hands-on illustration workshops
• Publishing 101 session for authors or illustrators
• Developing an idea from conception to completion
• Nonfiction and fiction research
• Secrets of Story Arc
• How to lay out a picture book dummy
• How to start your own publishing company
  
• Gesture and emotion for illustrators
• School and library visits and promotion
• Writing nonfiction articles and short stories
• Mystery writing
• Creative writing courses in the New England area
• Game plan for leaving a full time job to become a freelancer

I hope to see you there!

After the Beta Reader - Reads! 11 Things You Can Do.

My last blog post was about the importance of having a beta reader. So, let’s say you have a beta reader and they’ve read your manuscript. Waiting is hard. Every now and then you wonder if they hate it. With any luck, they won’t. And now you log into your email and they’ve sent you feedback...gulp...what now?

1.  Take a deep breath.
2.  Pour a glass of wine (so what if it’s only 8:17 AM).
3.  Grab a highlighter.
4.  Kick off your slippers.
5.  Sit back.
6.  Read.

If you find something that makes you want to stop reading, highlight it and continue reading. Read it all the way through and don’t think defensive thoughts.

7.  Now read it again. This time look for dangling threads, problems and "just not working notes", your beta reader noted.

Didn’t realize you stopped writing about something halfway through, did you? Well, this was where my beta reader, rocked! She found several threads that weren’t completed and one that didn’t even need to be there anymore.

8.  Put it down and walk away for twenty-four hours.

I know, not easy to do, but this is important to your story. Take this time to do other things and let your beta reader’s input percolate.

9.  When you are ready, make the small edits first. 

Focus on grammar and punctuation. They are easy and you need to make them.

10. Finally, with your beta reader’s comments in hand, read your story from beginning to end.

Ready?

As you read, you will see where the problems are. You will know what you need to do. It’s you story and you know it best.

11. With opened eyes, revise!

What are some of the things you look for when reading a manuscript?

Why a Trusted Beta Reader is a Valuable Addition to Your Toolbox!

You’ve completed your manuscript, edited and revised, read it aloud, and now you want to have a trusted reader complete a beta read.

As a writer, I crave feedback from my peers. I want honesty. I want to know what works and what doesn’t. Which all boils down to having another writer to be my beta reader.

Most writers understands that criticism isn’t about the person, but the manuscript. But, sometimes getting criticism is painful (I remember one very specific occasion where I cried) and can be very difficult to hear. Even for a seasoned, well-critiqued writer.

I want honest and well thought out feedback from someone who recognizes structure, story arc, dialogue, developing characters, plot, and who the intended audience is. Their constructive criticism will empower my creativity and bring with it a desire to continue revising until I get it right.

There are numerous ways to find a trusted reader. Recently, I found a writer who does all of this for me. We’ve swapped manuscripts a few times now. I have learned so much about my writing by reading and offering feedback to her about her work.

I have known her for several years and we first met as members of a critique group. I contacted a critique group that was listed on the NESCBWI.com critique group page. They were looking to grow the group but after a short time the group disbanded. To this day, she and I laugh about it. What I ended up with was a wonderful beta reader and a super writer friend. A girl can get lucky!

You might already be a member of a writer's group. But a fresh reader, someone who hasn't heard all about your struggles with the story is essential when you are preparing for a final round of revision before sending your manuscript to agents or editors.

Do you have a beta reader? if so, how did you find them? I'd love to hear you suggestions and tips.

Unavoidable

To be a true writer, you have to get to the end — it’s unavoidable. The best advise I've ever received, this from a well published writer, was to write the whole thing. Don’t stop to “polish” any chapters until your entire manuscript is written.

If you polish, you never finish.

Another great unavoidable for me — the outline. I find that an outline, even one as simple as:

Chapter 1 — Hero breaks leg, can’t save the world.
Chapter 2 — Hero wallows in self pity.
Chapter 3 — world falls apart because hero, isn’t.

Gives me something follow. If I don’t have it, I end up polishing.

The final unavoidable — the rejection. Everyone gets them. I read them, work with them, and move forward.

What are your “Unavoidables” when writing?

Revision Tools For Revising Your Manuscript

Just the thought of revision can make you quake in your chair. Where to begin? What to think about? Revision can be overwhelming. Here are 10 points about revision to help get you in the mood for revising.

1.  What is the story that I am telling?

2.  How will my character change?

• Does my character get to where s/he needs to be?
  No – How do I make her change?
  ~  Introduce a crisis situation that makes my character  change.
  Yes – Do the things that happen along the way help get my character where s/he needs to be?

3.  What does it mean to move forward?

• Reveal something about the character.
• Propel the plot.
• Build a relationship that is important later in the book.

4.  Summarize the things that don’t move the story forward.

• An example of this is Charlie Brown, Linus, and Lucy speaking, but the adults always sound like,
  “Blah, blah, blah.”
• One sentence summary of the scene.

5.  Is my main plot a character development arc?

• Subplots
  ~  Do they fit in?
  ~  When do they resolve?
  ~  How do they resolve?

6.  Characters

• What are my character's quirks and personality traits?
• Do my secondary/minor characters grow with each appearance they make in the book?

• Do my characters have unique voices?
• Do they reveal everything about their characters?
  
  An example of this is sub vs grinder (sandwich)
  Their socio-economic placement

• Does the dialogue let their relationships evolve?
• How authentic do they sound?

8.  Setting and Description

• Picture it then brushstroke the description. Let the reader envision it, unless it must be specific.
• For it to be specific, it must be important later in the book. If not, take it out.

9.  Wordsmith

• Search for commonly used, but unnecessary words.
  ~  Examples are just, so, next, that, but.

10. Show, don’t tell.

What works for you?


formerly my 11/17/10 post ~  Revision Toolbox

Q is for Questions Asked by First Time Conference Attendees

Are you going to your first writer’s conference this year? Are you wondering how to get the most from your first time?

If your first time is a large regional conference, I recommend you focus on craft. The New England chapter of the Society of Children’s Book Writer’s and Illustrators Conference is designed to have something for all levels of experience.

For first-timers, there is a Friday afternoon workshop, Conference Orientation. This workshops is an excellent way to get a quick over view and great tips on making your first conference work for you.

Peer Critique Workshop will explain how to give and receive critiques. Other writers are some of the best sources for Learning from. Most have been exactly where you are, at the beginning of their writing journey. And remember, there is something to be learned from each person, even if you don’t agree with their style or comments. Dig deep and be objective. Take what you learn home and start your own critique group.

I hope you registered for Saturday’s Publishing Basics: The Myths and Realities. You’ll learn about the basics of manuscripts, researching and finding publishers, agents, how to handle rejection, and what to do when you sell your first book.

Sunday has a great workshop for beginning illustrators. The Illustrator’s Academy focus on revision in illustration.

Most of all, relax and smile. Say hello and introduce yourself. We’ve all been a beginner at something. Writing can be solitary but that doesn’t mean you are alone.

What tips and suggestions can you give first time Writer conference attendees?

J is for Just Remember

I’ve been thinking about how the small things that happen to us, change us. I’m well traveled. My honeymoon was a three week adventure, driving around Namibia (what used to be German Southwest Africa) in an unair-conditioned Ford, diesel station wagon and camping under the stars. A weekend adventure to Costa Rica to zip line the canopy, only to sprain my ankle so badly, I couldn’t. Skinny-dipping in November in the Baltic Sea off of Sweden.

Visiting the German City of Dachau, on a rainy winter’s day to visit the concentration camp.

From the car, we followed the signs for the entrance, down a path along a gray concrete wall. A group of Czech teens were laughing and joking ahead of us. I think I looked up then because the wall seemed unnaturally high. That was when I realized we were walking the exterior perimeter of the camp. A guard tower peaked through the trees and vines, chilling me.

My husband took my hand.

Approaching the entrance wasn’t difficult, what made it hard was knowing that I was about to willingly walk through the gate when others had never had a choice. I needed to compose myself. I closed my eyes and was instantly swept back by the smell of fear coming from the railroad bed under my feet. Time was disjointed, I had to open my eyes.

I heard my name and moved closer to the gate. This is what I saw.

Being there was eerie, as again time wavered between then and now. The place wreaked of despair. My eyes watered the entire time.

As dusk approached, groups of people moved toward the gate. The Czech teens, subdued.
No shouts of Halt as I exited through the gate. No rapid fire machine guns popping. Silence except for the footfalls of those around me.

Then the sky exploded. A sonic boom, my husband said. I felt time tear and this is what happened.

DACHAU REVISITED

Metallic drizzle glazes the decades.

Knees tremble stepping from the car.

Our forced march through time defies fear.

Subtle grays disguise the truth,

a spasm of recognition etches guard tower, ruined wall.

Now covered in vines, leaves of brown

plaster tightly to bricks and mortar.

I walk, eyes straight ahead.

Grays shift in the corner of my vision,

twist into muted shapes of rigor mortis.

Wrought iron lies greet me.

Beyond, the shadows coagulate into ghosts of the once-living

wearing gray and white stripes like the criss-cross of barbed wire.

Gravel crunches underfoot; I taste ashes in my mouth.

Forced march -- double-time -- down the avenue to the gate.

I feel the noose around my neck, choking.

Ovens cold and dark, hungry lips coated with what I do not want

to see. I can’t close my eyes,

I don’t want to look.

I can’t stop.

Jostled and bumped by mournful souls, I flee

through the gate of lies.

Truth explodes around me.

A sonic boom rips through the air, tearing time.

Ghosts walk along side me, through me

Liberated.

The Importance of Crafting Compelling Characters

You know Katniss Everdeen, Harry Potter, and Bella Swan - these aren’t just names, they’re characters whose secrets you know, desires you understand, and whose fears you wish you could quell. Characters so alive, you’ve fallen in love with them.

Why does this happen?

Not by accident.

These characters are carefully crafted so their actions, dialogue and choices show (yes, show) how they think and what they believe. Crafted to make their flaws stand out, their secrets weigh heavy, to allow their fears to be exploited.

As my character’s life unfolds, my goal is to make it easy for the reader to get caught up in the character’s actions and words.  If I do it right, I can facilitate an internal dialogue where the reader reacts emotionally and wants to tell my character not to make that choice or say those words. Where the readers wants to send warnings, because they care about what is happening the character.

Of course my character will make the wrong choice or say the wrong thing, they have to. The reader can’t change what will happen, but they will love my character more for making mistakes, for being human.

Ultimately, I want my reader to cry when my character pays the price for their mistakes, and laugh and cheer them on when they grow and change. Most of all, I want to make reader believe in my character. 

Once a reader believes a character can save the world, fight evil wizards, or love a vampire, you've succeeded in creating a compelling character.

An Absolutely Amazing Attempt At Blogging All of April

Alright! I’m attempting to blog all of April, except for Sundays. I’ve signed up to do the A to Z Blogging Challenge because I’m hoping to awaken the abeyant blogger within.

What is this A to Z Blogging Challenge all about? It’s blogging a letter of the alphabet every day, the month of April. I’m not exactly sure how this is going to work, but I feel that I can do it.

I’ve read that it can take 30 days of doing the same thing, to make a new habit stick. Here’s a list of 18 Tricks to Make New Habits Stick.

Let the blogging begin!