T is for Training

Training yourself to do anything takes time. You have to train to break bad habits and to build new ones. Writing daily is a habit, but you can form this habit by writing daily.

Recently, (okay, last week) I started training for the C25K. The first day was horrible. I could only make it through 6, 60 second runs. But the second day, I made it through 8. The third day, I did all 9.

I thought that if it gets easier and easier the more you do it, why don't I put this same concept into practice for my writing? So yesterday, I wrote for 20 minutes. Today, I wrote for 23 minutes. I do have a job and still want to run, but if I manage my time, I can do a little of everything on a regular basis.

How to Make Writing a Habit
Do this three times a week.

• Brisk five-minute free write warmup. Write about anything: grocery list, character traits, setting.
• Then alternate 60 seconds of writing and 90 seconds of reviewing, do this 8 times for a total of 20 minutes. 

Before you know it, you aren't stopping to review what you've written, instead you are writing for 20 minutes.

Revision Checklist

Revising is often the most dreaded part of the writing process. But having a checklist can help you in the process. Here are 10 things I think about when revising.

1.     What is the real 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? 

7.     Dialogue

·      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.

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.

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?

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?

Inside my Revision Toolbox

The 10 Most Important Tools 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? 

7.     Dialogue

·      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.