Tasting Your Words: Writing with Your 5 Senses

Welcome to this week’s Master Your Craft post! Each Wednesday we’ll discuss prewriting and drafting a new book from the BIG IDEA to QUERYING. Last week, we talked about Ten Steps to Tightening. This week, we’ll discuss Tasting Your Words: Writing with Your 5 Senses.

We are physical beings who experience life on this planet through our five senses. It’s true that our minds love to time-travel, pulling us out of the present moment, to worry about something we said in the past or to look forward to something about to happen in the future. Our characters, like us, do the same thing in their internal dialogue, which is good because it makes them real.

But the reader must also feel them living and breathing in the real world. Not only does this make your character more real, but it engages the reader by making them experience the same sensations. If your character smells burnt brownies or he chooses bubblegum mouthwash at the dentist, we don’t intellectually absorb that, we feel it with your character.

I struggle with this, too, because I don’t want my characters stuck in a sensory deprivation tank. I think it’s about feeling our way into our character’s body and environment, and not overthinking it. Some call it getting into the zone or entering a trance like a shaman writer. The physical experience of being on a subway is very different from the waiting room at the spa. The air, the light, the smells, the sounds and even the tastes are  different. But it’s even deeper than that, because the subway is different in the morning rush hour from late at night, and the zen spa is very different from the one at the mall.

The more mindful we are in our daily lives, the more we can bring that mindful experience to our writing. This means noticing how our bodies react to the physical world around us. Sometimes it’s easy to go for the standby descriptions, but if we tap into what we really, really feel, then our writing becomes  more authentic, and our readers will feel it.

Feeling Your Words
Instead of waking up with “bleary eyes,”  we can bring own unique experience of waking up tired. How do our eyes feel? Are they scratchy or is the skin around your eyes tight?

The next time something scares you, notice: what happens in your body? Instead of the usual “heart racing” and “shiver ran down spine,”  you can bring your own unique experience. Does your body clamp tight like a drawbridge? Does your hair prickle on the back of your neck or on your forearms? Does your heart pound, hammer, race, thud, pulse or beat in some other way?

Seeing Your Words
With visual descriptions, it’s about picking out the one or two things that stand out and are most important for us to understand the character or setting or whatever it is you’re describing. The reader can imagine the rest.

I loved Joanne Harris’s #TenTweetsAboutColour, in which she says, “In fiction, the objective is not so much to describe the color accurately, as to convey a feeling to the reader.” We can describe the  “blue sky” with any other synonym for blue, from azure to indigo to slate, but doing so is more clever than evocative. Instead, she suggests linking colors with a feeling or a sensation. She says: So: “ice-white” conveys something different to “milk-white,” or “bone-white,” or “moon-white,” or “ash-white.” Often even these color descriptions can become cliche, so we can add a feeling to the color like “blameless blue sky.”

And, of course, the same can be done with eyes. Instead of “piercing blue eyes” or “sparkling eyes,” try something different, depending on the feeling you’re trying to evoke. Are they “arctic blue eyes” or “forget-me-not blue” or “Hollywood-blue eyes”?

Hearing Your Words
This can also be applied to sound from a character’s voice to the sound of the wind through the trees. When you’re away from your desk, notice the timbre and tone of different voices, and if the sound of the wind is different blowing through the birch tree compared to the oak tree.

Smelling Your Words
Smell is our oldest sense. “Even a single cell animal has ways to detect the chemical composition of the environment,” according a researcher at Columbia University. Smell is such an evocative sense and brings the reader more quickly into your world than perhaps any other sense. You can describe a smell as acrid, sour, sharp, cloying, or you can evoke a feeling with it, like flowery, comforting, or repulsive.

Her skin smelled like chlorine from the pool.

The subway air was damp with the scent of humans, which neither their stringent deodorants or perfumed shampoos could hide.

Tasting Your Words
When I was a children’s yoga teacher, I would do a mindful eating exercise in which each child would get a raisin. They would observe it, smell it, touch it, listen to it as they shook it in their hand. They would share what they experienced through each of these senses. Then they put the raisin in their mouth, feeling it first before biting into it. I would ask them if they tasted anything? Where on the tongue do they taste it? Is it sweet? Grapey? Sour?  Do they chew it one side or both sides?  How long is it chewy for? Does the taste linger? You get the point. I don’t think we have to go into this much mindfulness every time we eat, but if we can bring a little noticing, it will enrich our writing! Sorry, couldn’t resist.

With that I give you all permission to go eat and smell and taste and hear and feel the world!

Come back next Wednesday where we’ll discuss Editing Tools.

KARIN LEFRANC is from nowhere and everywhere. She lived in Sweden, Lebanon, South Africa and the UK but now lives in the US in a small Connecticut town which boasts the largest tree in the state. She’s an admitted tree hugger, who has on occasion, even been spotted kissing a tree or two.  Her debut picture book I WANT TO EAT YOUR BOOKS was published in 2015 by Sky Pony Press. When she’s not writing picture books, she’s time traveling to the 6th century in her middle-grade novel. You can find her on Twitter.

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MYC: Tightening

Welcome to this week’s Master Your Craft post! Each Wednesday we’ll discuss prewriting and drafting a new book from the BIG IDEA to QUERYING. Last week, we talked about Sentence, Paragraph, Chapter, and Story Length. This week, we’ll discuss Ten Steps to Tightening.

One of the important steps in the revision process is tightening. This is a multi-level, multi-step process, but oh so important to make your writing sparkle. This task is a bit tedious, so I normally save it for the end, just before sending it to betas.

1. Cut unnecessary words!

  • Eliminate as many of these as possible: very, really, just, back, up, quite, rather, start, begin
  • Eliminate “that” (but be careful with “that”––sometimes “that” makes a sentence much more readable). That phrases can be tightened. Example: The house that sat up on the big hill… becomes… The house up on the big hill…
  • Eliminate “of” when it follows all, off, outside
  • Check “up” and “down” when it follows a verb. Chances are you don’t need it. Example: Sat down at the table. Stood up.
  • So” and “such” are unnecessary: so tired, so lovely, such injustice, such beauty
  • Look at “but“. Sometime it’s a good conjunction and sometimes you can use it to start a sentence as an emphasis word. Often you can cut the “but” and write two separate, more powerful sentences. If you use “but” to start sentences often, it loses its punch.

To eliminate these unnecessary words, in your Word document, type the word in the Find function. Go through the entire document and delete as many as possible. Then move on to the next word.

I’ve found that after going through the exercise of doing this on several manuscripts, I’ve trained myself to use these words less often in more recent WIPs.

2. Cut unnecessary dialogue tags!

Said, answered, asked…

You can definitely do this, especially if you are paragraphing your dialogue appropriately so that it is clear who is saying what.

Example:

“Pass me that tomato,” Dad said as he grabbed the cutting board and a serrated knife.

“Pass me that tomato.” Dad grabbed the cutting board and a serrated knife.

3. Cut filtering verbs!

These include overused seeing verbs and thinking verbs: heard, saw, felt, knew, imagined, wondered, pondered, thought, understood, realized

For the sensing verbs, the sentence is normally stronger without the filter. Example: She heard the car door slam against the garage wall. Replace with: The car door slammed against the garage wall.

For the thinking verbs, just deliver the information or ask the question directly.

Examples:

She thought about all the people like her who had failed to finish college.

So many others like her had failed to finish college.

She wondered why she’d been successful when so many others had failed.

Why had she been successful when so many others had failed?

4. Question your adjectives! 

I’m not bashing adjectives here. They can stir emotions and visual images that are comforting and make the story come to life. But sometimes ,the description is excessive and takes you right out of the story.

Do you really need to say a “bright, warm, cloudless, sunshiny day”? I think not. Think about how your character would describe it and keep it simple.

5. Also question your adverbs!

We already got rid of “really” and “very”, but carefully scrutinize your -ly words to make sure they add value to each sentence. Sometimes an adverb is just a signal that you need a more precise verb and. Example:

She spread butter thickly on the toast and quickly put it in her mouth on the way out the door.

She loaded the toast with butter and stuffed it in her mouth on the way out the door.

6. Eliminate redundancies!

She nodded her head and shrugged her shoulders.

This can be simply be written as: She nodded and shrugged.

Another example:

Emily began eating her soggy bagel. Three boys ran into the cafeteria and started yelling, “Everyone, go outside. Now!”

“Began” and “started” are redundant. Skip them both.

Emily ate her soggy bagel. Three boys ran into cafeteria yelling, “Everyone, go outside. Now!”

7. Check for “was”! 

A high density of “was” in your writing normally signals that your sentence structure doesn’t have much flavor and is likely very passive. Often this means you aren’t using active verbs. Active verbs reduce wordiness and pulls your reader in.

Examples:

I was envious of your grade on that last test.

I envy your grade on that last test.

At the party, she was dressed like a fairy and had wings and a wand.

She wore fairy wings to the party and carried a wand.

We were at the party, but there were so many people we had to leave early.

We left the over-crowded party early. 

8. Check your fall back words! These are your words that you tend to overuse, often when you’re trying to convey what your character is feeling.

Only you know what these are for you. Mine are breathed, shrugged, nodded, heart raced…

Seeing the same reactions repeated over and over will make your story flat. Mix it up by finding new ways to express that your character feels relieved, frustrated, excited, or scared. One of the best resources that I’ve found for this is the Emotional Thesaurus. It’s filled with thousands of different emotional responses that will help set your story apart.

9. Check for “stuff” and “things” and make them specific!

There was so much stuff swirling in her head that she couldn’t think of the answers to the questions on the test.

The history facts swirled in her head, making it impossible to answer the test questions.

10. Eliminate unnecessary phrases!

I notice these when I look for “that” in my manuscript. Sometimes the that seems necessary in the sentence, but really you just need to get rid of the phrase accompanying it.

Example:

Maria became furious as Allison kept bringing up examples that had nothing to do with the topic.

Maria became furious as Allison kept bringing up unrelated examples.

 

Additional Resources:

10 Overused Words in Writing

30 Filler Words You Can Cut Out of Your Writing

43 Words You Should Cut From Your Writing by Diana Urban

44 Overused Words and Phrases

 

We’d love to hear your suggestions for tightening in the comments! Come back next week to read our discussion about Using All Five Senses.

MICHELLE LEONARD is a math and science nerd, an Indie children/teens bookseller, and a SCBWI member who writes middle-grade and young adult fiction. Her young adult sci-fi short story IN A WHOLE NEW LIGHT , about a teen girl who uses technology to fight racism, is in the BRAVE NEW GIRLS ANTHOLOGY: STORIES OF GIRLS WHO SCIENCE AND SCHEME. Proceeds from the anthology go towards scholarships for the Society of Women Engineers! Connect with Michelle on Twitter.

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Four on 400 October Feedback

Thank you to all the brave souls who entered this month’s Four on 400 contest!

Sharing your writing takes courage, and we appreciate your enthusiasm for our contest.Below, we’ve posted the first 400 words from this month’s winner, along with feedback from at least four of our members. We also encourage our readers to share their (constructive) suggestions and encouragement in the comments section below.

Camp Chrysalis (Middle Grade)

Baby carrots ruined Owen Fortner’s life.

Owen stood, braced against the door of the boys’ bathroom next to the kindergarten classroom. His safe haven during lunch for the last two weeks, it was about as far away from both his fifth-grade classroom and the lunch room as he could get. Only three days before summer vacation, Chris and Jerry found his hiding spot and were beating and pushing on the door to get in.

Owen relaxed his mind, pushing his thoughts to his twin sister, Allie. They’d been able to talk to each other mentally since they learned to speak. They found me. I’m in the bathroom over by the kindergarten, and I won’t be able to hold them off for long.

His sister’s voice was only a mumble in his mind until Owen focused on it.

…help. Just hold them off for as long as you can.

He’d only redirected his concentration for a moment, but it was enough that his sneakers slid on the hard tile floor.

The door opened a few inches before Owen could stop it. Sensing weakness like the ruthless predators they were, Jerry and Chris gave a coordinated effort and slid through.

Although fellow fifth-graders, Chris and Jerry stood much taller than Owen. Of course, Owen reflected, so did everyone else, including his twin sister. Chris’s lips curled back, revealing teeth too big for his mouth and the gap where a canine tooth should be—and was, two weeks ago…before The Baby Carrot Incident.

“Got you,” Chris snarled.

Owen backed up against the side of the bathroom stalls, thinking a swirly wouldn’t be so bad. No… he’d much prefer a swirly to getting punched hard enough to lose a tooth. Chris had been preaching “a tooth for a tooth” for the last two weeks. Jerry leaned against the closed door, making it difficult for anyone to interrupt them.

Owen circled in front of the sinks, hoping he could make it back around to the door and possibly escape.

All this because of baby carrots… Those stupid little orange vegetables his mother stuffed into his lunch two weeks ago. If only the small bag hadn’t been so darn hard to open. If only the carrots hadn’t exploded out of the package. If only they hadn’t landed on the floor just as Chris stepped, and made him slip, hit the table, and knock out his tooth.

Halli: Thank you for sharing! The first sentence definitely hooked me! As did the overall theme. The pacing is great and I loved the paragraph describing Chris and keeping up the mystery of the baby carrot incident. I have two tiny comments to mention. First, the part about Owen talking to his sister pulled me out of the immediate action and danger. If it is crucial to the first few pages and first chapter, I would recommend moving it a little farther down. Second, I had a hard time grounding myself in the first full paragraph. I think because there is a lot happening – the actions of the boys as well as three different locations. Overall, great job! Good luck.

Julie: I agree with Halli–great first line! And I actually like getting the twins’ telepathy onto the first page, but think it could be integrated a little bit more into the action so that it doesn’t pull us out of the narrative. Could you cut the lines about relaxing his mind and talking mentally and just have him think “I’m in the boy’s bathroom. Need help fast” and then let Ally respond. Kids will pick up on what you’re talking about without disrupting the tension of the door slowly working its way open. I think the “Although fellow fifth-graders” paragraph could be cut or condensed too. Stick to the immediate danger Owen is in, and the actions he takes to protect himself, and I think this will be a winning opening.

Richelle: I’m with Halli and Julie — great first line and very fun, fast-paced opening. That promise of the first line is dulled a bit with the next few paragraphs. I struggled a little with that first full paragraph. Try shorter sentences, maybe? And I don’t think you need to specify there where he is since he tells his twin in the next paragraph. Really think about what we absolutely must know to get through the rest of the scene and get rid of the rest — the curiosity of baby carrots, telepathy and the “tooth for a tooth” bullies will keep kids reading! And I’m with Julie — I don’t think we need to understand any of the history of Owen communicating with Allie. You can just have them do it urgently in that moment, and then explain it later when you give your readers a “take a breath” moment. Thanks for sharing!

Karin: Nice job! You throw us immediately into a tense scene that has us asking: will Owen escape? I think the last sentence in paragraph two is a little confusing as he’s bracing against the door but this is safe haven away from the two boys. “Figures that only three days before summer vacation, Chris and Jerry had found his hiding spot and were beating and pushing on the door to get in.(you don’t need to tell this as the action shows it.)” And “relaxed his mind” is awkward, and in fact I would cut that whole sentence. Then shorten the rest. “He needed his sister. They could talk to each other mentally ever since they could speak. Allie, they found me…” I love “swirly” and “tooth for a tooth”! This sounds like a fun adventure! Good luck going forward!

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Meet Brock Shelley from What Book Hooked You? Podcast

 

The best people I know are people who start conversations and promote the creative things other people are doing. With my debut recently out in the world I owe so much to everyone who read, blogged, reviewed and posted about it. One way I want to reciprocate is by

introducing you all to Brock Shelley. He’s the creator of the What Book Hooked You? Podcast. It’s an informal chat about books and writing with YA and MG authors. Normally, I talk too fast and muddle up my words or start on a tangent, but Brock is one of those people who just puts you at ease and brings out a great conversation.

I love listening to podcasts, but I wouldn’t know the first thing about starting one. Do you want to tell us a little of the how’s and why’s you started What Book Hooked You?

Like you, I’m a big fan of podcasts. I can’t remember that last time I got in the car and turned on the radio. I always have podcasts on as I drive. I especially enjoy those focused around long form interviews. With my love of books and writing I couldn’t find a podcast that focused on author interviews that I really enjoyed. So I started exploring what it would take to start my own.

What’s been the biggest challenge of the podcast?

I would like to think of myself as tech savvy but there were many new facets to creating and releasing a podcast, in terms of understanding feeds, hosting, and sound editing. Once I became comfortable with that side of things, the next and on-going challenge was finding and reaching out to authors and book people I’d like to have on the podcast.

What’s been the biggest reward of the podcast?

I feel fortunate that so far I’ve been able to have so many great guests. I’ve loved hearing about the books that have meant so much to guests. With the authors it’s been interesting to listen to their individual journeys. The books that have inspired them, their writing process, challenges they’ve faced in their quest to share stories with others and be a published author.

You aren’t just into your podcast, you write as well. What do write and how in the world do find the time?

I do write and what will happen with that in the future, only time will tell. I tend to write coming-of-age stories that lean heavily into the category of YA, contemporary narratives that typically have a thread of magical realism.

It’s interesting how motivating this podcast has been in my life. While the setting up, conducting, and then posting podcast episodes take time, by having these conversations about books and writing I’ve found the number of books I’m reading and the amount of writing I’m producing have greatly increased. I can’t explain where all this time came from but I’m certainly not complaining.

I’d actually like to ask you one of your own questions. In our interview you asked me my favorite book-to-movie adaptations. Labyrinth spilled out of my mouth. It’s one of the most memorable and still enjoyable movies I’ve watched since forever. So, what’s your favorite adaptation and why?

As I mentioned I really like coming-of-age stories, so film adaptations like The Outsiders, The Perks of Being a Wallflower, and The Virgin Suicides I consider to be great films. But my all-time favorite move based on a book is Stand By Me, which is taken from Stephen King’s novella, The Body. It always reminded me of my childhood and the cast is amazing. It is probably the movie I’ve watched the most.

This has been fun, Brock. I can’t wait to hear more from you and your podcast. If you, dear readers, want to find out what the podcast is all about here are the links:

Website

Twitter

The podcast for Apple IOS

The podcast on Android

Kristi Wientge is the author of KARMA KHULLAR’S MUSTACHE out now with Simon & Schuster BFYR.

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MYC: Make Your Story Fit Your Reader

Welcome to this week’s Master Your Craft post! Each Wednesday we’ll discuss prewriting and drafting a new book from the BIG IDEA to QUERYING. Last week, we talked about Creating Interesting Dialogue and Description. This week, we’ll discuss making sure the content and sentence, paragraph, chapter, and word count work for your reader.

As you are revising, one important step in the process is to make sure that you wrote a book that “fits” your reader. Below, I’ve attempted to attach some numbers as rough estimates based on my own browsing and research about books in these categories, but please, please, please do you own research too. The point of this post is to make sure you’re thinking about content and sentence, paragraph, chapter, and story length as you revise.

Chapter Book

These are for kindergarten through fourth grade. But, of course, that’s quite a spread in reading ability. Some chapter books are for beginning readers and others are transitionary, getting the reader ready for middle grade fiction. Often these books are about family relationships and friendship.

Beginning-level Chapter Books: In terms of vocabulary, they are similar to the level 3/4 books in the popular I Can Read leveled readers. The plot is normally simple and the sentences are short and uncomplicated. These early chapter books are typically published with a large font and are color-illustrated, often with a picture on every page. The art typically supports the texts, meaning it is important to the story because it shows things that don’t have to be described, much like a picture book.

Examples: Princess in Black series, Mercy Watson, Captain Awesome, Ivy and Bean, Heidi Heckelbeck, and Dragon Masters.

Sentence Length: Generally short (<10 words) with a few longer sentences.

Paragraph Length: Less than six sentences. Some are single sentence. Lots of white space. Normally less than 50 words.

Chapter Length: Some have no chapters, but typically less than 12 highly-illustrated pages (note: this is as-published, no how it will be in your document)

Story Length: Ranges typically from 1500-6000 words

Higher-level Chapter Books: As compared to the beginning readers, the vocabulary is broader. There is less repetition. The sentence structure becomes more complicated by adding phrases and more adjectives and adverbs. The plot may be more elaborate, maybe by adding mystery or leaving out details to let the reader figure out on his/her own. The concepts/details may require a higher level of thinking. Perhaps the biggest change of all is that the font is usually smaller and, though the illustrations are still there, they aren’t usually necessary for understanding the story. Illustrations are often done in black.

Examples:  Judy Moody, Diary of a Wimpy Kid, Captain Underpants, early Magic Tree House series (the Merlin Missions are for middle grade readers)

Sentence Length: Usually less than 20 words per sentence. There are still many short sentences in between longer sentences, and this structure is ideal even for adult works. More complicated in structure and word choices.

Paragraph Length: Slightly longer than the early chapter books, but still generally less than 75 words. Still more white space than middle grade.

Chapter Length: Some have no chapters, but typically less than 12 illustrated pages

Story Length: Typically from 4000-15,000 words

Middle Grade

Middle-grade stories are typically for ages 8 and up. They deal with more complicated concepts and sometimes cover sad and more mature topics than you will find in most chapter books, like divorce, death, bullying, and risky behaviors. These books often give children a wider window into the world by covering these topics and they also often include characters that have different cultures or ethnicities. Often books help readers explore their feelings about issues with friendships and family through story, and they are great tools in helping children understand empathy and community. Romance, if any, is usually limited to hand holding or a quick, nervous kiss. These books have few illustrations and they are often confined to the chapter heading.

Examples: When You Reach Me, The Journey of Edward Tulane, Fourteenth Goldfish, Karma Khullar’s Mustache, Wish

Sentence Length: Readers are capable of tackle long, complicated sentences, but using a variety of sentence lengths is still important. Vocabulary should reflect the types of words you would expect these readers to know or be able to figure out with context clues. Though helping the reader expand his/her vocabulary is a fine goal, be careful that there isn’t a high density of challenging words in your sentences.

Paragraph Length: Mostly two hundred words or less with a variety of paragraph lengths so that you don’t tire your reader.

Chapter Length: There’s really no rule here. A young reader is often more likely to tackle the next chapter if it is less than 10 pages, especially if he knows mom/dad will let him/her go a few minutes over lights-out time for reading. 🙂

High action scenes may require longer chapters, but if the chapter is clocking toward 20+ pages, you may want to find a way to break it up. Short chapters with choppy sentences are great for when you need to increase the tension in the story.

Particularly important for this age, leave small cliff hangers at your chapter endings when possible.

Story Length: Stories that don’t require a lot of world building are typically 20,000-50,000 words. Sci-fi and fantasy can be longer, but generally those should be less than 70,000 words.

Young Adult

Young adult stories are mostly for ages 13+. Profanity, sex (not erotic), drug and alcohol use are okay, but it’s not as acceptable for books with a younger protagonist (<15 years old). In young adult books, the parents tend to have a less important role in the protagonist’s life because they are more focused on friendships and non-familial relationships.

Great resource by agent and author Marie Lamba about what’s appropriate in MG vs. YA.

http://www.writersdigest.com/online-editor/the-key-differences-between-middle-grade-vs-young-adult

Examples:  Across the Universe, The Sun is Also a Star, I’ll Give You the Sun, The Hate You Give, Miss Peregrine’s Home for Peculiar Children

Sentence Length: These readers often have adult-like reading skills and can handle complex sentences and vocabulary.

Paragraph Length: Less than 200 words for most paragraphs. A variety of paragraph lengths is best.

Chapter Length: Less than 25 pages generally with mini-cliff hangers to keep the reader turning pages.

Story Length: Less than 90,000 words unless complex world building is necessary for the story. For sci-fi and fantasy, this can be longer. See Maria Lamba and the post in resources for more details.

Resources:

Word count: http://literaticat.blogspot.com/2011/05/wordcount-dracula.html

Page count (funny): http://100scopenotes.com/2014/07/15/all-middle-grade-should-be-192-pages-no-exceptions/

Chapter length:

https://kidlit.com/2017/06/05/childrens-book-manuscript-chapter-length/

http://writersroadtrip.blogspot.com/2009/12/wrt-rules-of-road-chapter-length-and.html

https://writers.stackexchange.com/questions/41/what-is-a-normal-length-for-a-chapter

http://allwritefictionadvice.blogspot.com/2012/05/chapter-novel-lengths.html

An excellent resource for finding out the word count for your favorite books: http://www.arbookfind.com

Thanks for reading this week’s Master Your Craft post. Come back next week when we’ll discuss Tightening your manuscript!

MICHELLE LEONARD is a math and science nerd, an Indie children/teens bookseller, and a SCBWI member who writes middle-grade and young adult fiction. Her young adult sci-fi short story IN A WHOLE NEW LIGHT , about a teen girl who uses technology to fight racism, is in the BRAVE NEW GIRLS ANTHOLOGY: STORIES OF GIRLS WHO SCIENCE AND SCHEME. Proceeds from the anthology go towards scholarships for the Society of Women Engineers! Connect with Michelle on Twitter.

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