It’s BACK! Master Your Craft Returns

So you’ve finished your book, polished and pruned and read it through a few million times. What do you do now?

The Winged Pen’s Master Your Craft (#WPMYC) Series is back to guide you through all the hard work that comes after you finally complete your novel.

Next week, we’ll be tackling the very first question you should ask yourself when you’ve revised as much as you think you can and are ready to think about querying: Are you really ready?

Then you can look forward to weekly posts about writing the perfect query letter, tackling the dreaded synopsis, pulling together your list of potential agents, querying strategies, and more.

Many of the posts we’ll share will have multiple Pennies bringing our unique perspectives, experiences and success stories, so you can be sure this won’t be a prescriptive, do-this-not-that series. We’re confident you’ll be able to find some advice that resonates for you and helps you along your path.

We’re all really excited for this next phase of Master Your Craft, and we hope you are, too. Make sure you subscribe to the blog so you don’t miss a post.

And if you have questions, hit us up in the comments!

The Magic of Friendship

I’m working on revising one novel and pre-writing another, and one thing keeps coming up with both projects: friendship.

I have two teen daughters, and I can tell you that EVERYTHING revolves around friends. And I remember that from my own teenage years – friendships were all-consuming, intense, up and down, and central to my daily life.

So as I’ve worked on these two projects, it has been especially important to me to make sure that the friendships in my stories are as vivid and central to my characters’ lives as they are in the lives of the teens I know.

Of course, that’s easier said than done, especially if your story and its conflicts aren’t based on your main character’s relationship with his or her friends. How can you ensure that your character’s friendships always feel authentic, rich and real?

I recently attended a talk at my local SCBWI led by editor Abby Ranger. She called friendship a key entrance to your story. Whether you’re writing an epic fantasy set in a completely new world, or a contemporary set in a world that is familiar to nearly all of us, your character’s friendships give readers a view of the heart of your character and her journey.

And friendship is different than other relationships your character has in his life. For one, it’s completely voluntary – friends don’t have to love you like family does. And the relationship isn’t clouded by romantic feelings.

So friendship is important to get right in any story for middle grade or YA. But how?

Take a minute to think about your own friendships. What are they based on?

I have a few friends who have known me for more than 20 years. We share some things in common – kids in some cases, hobbies in others – but our primary bond is one of time and deep understanding. They know what skeletons I have in my closet, they remember when I was a vegetarian who refused to eat beans, and at least one of them was there to drive me home from work when I had a horrid case of the stomach flu.

I have other friendships that have grown from a common interest. My knitting friends know a bit about my life, but they are even more well versed in what yarn-based project I’ve got in my bag at the moment. And of course my Pennies know each and every up and down I have with my fiction writing.

Think about your character and his or her friends. How did they meet? What drew them together? How did they cross that threshold between acquaintances and friends? What keeps them coming back to each other?

What do they know about each other that other characters don’t know? What are their power dynamics – is one the bold go-getter, dragging the other along? Is there a protector and a protected?

As you sketch out this important relationship, consider these tips, loosely gathered from Abby Ranger’s fantastic talk (and with examples from Harry Potter, an epic fantasy series with friendship at its core), for creating authentic friendships that push your characters to grow over the course of the novel:

Lean into contrast/conflict. Friends don’t always get along, and they often grow in different directions at different times. Show those conflicts – big and small – and use them to challenge your main character’s inertia.

HARRY POTTER EXAMPLE: When Hermione and Ron begin to recognize their feelings for each other, they each approach those feelings in different ways. That conflict is amped up by the ball and the character of Viktor Krum and adds a great layer of complexity to the story.

Communication between friends often consists of their own language. Show that in both dialogue and in non-verbal communication. Our closest friends can often say a LOT with a tiny change in expression!

HARRY POTTER EXAMPLE: How many times do Ron and Harry crack each other up with just a glance?

There is an intimacy in details, so be specific. Use details to show your characters knowledge of each other and their expectations of their friends. HARRY POTTER EXAMPLE: When Hermione explains Cho’s feelings of sadness, grief, guilt and confusion to Harry and Ron after Cedric’s death, she shows a relationship with Cho that we don’t see on the page, but that is clear from those few details she shares. And Harry’s and Ron’s responses show that they never expected such complexity from either Hermione or Cho.

Teen friendships have DRAMA. Emotions are bigger and more unwieldy when you’re a teenager, and most of the situations you face, you’re facing for the very first time. Let the drama out! And that drama can crop up in many different ways – does your character have to sacrifice something for his or her friend? How do your characters earn their relationship? Do they fight for it? Do they risk something – parental or societal disapproval, say – to keep the friendship?

HARRY POTTER EXAMPLE: Right at the beginning of the first book, Harry faces a choice between being friends with Draco (and joining ranks with the “right sort” of wizard) and being friends with Ron (the “wrong sort”). He chooses Ron. Later, the two friends together choose to befriend the unloved Hermione. Both times, Harry is risking his social capital for his friends – and that choice continues to create drama that resonates throughout the series.

Friendships, particularly groups of friends, have their own circuitry. How do your characters connect to each other in the world of your story? What are the layers of friendships, from inner circle, to outer ring? What role does each character play?

HARRY POTTER EXAMPLE: Harry, Ron and Hermione each have their own specific role to play in their trio. But they’re not an independent entity. They’re also influenced and influence Ginny and Neville and Fred and George and Luna. Their influence also spreads to enemies like Draco. The various connections between the characters come back over and over again throughout the series, and the picture that network forms is complex, dynamic and rich.

Friendship should have an arc throughout the book. Even if the friendship doesn’t supply the main core of conflict in your story, your character’s relationship with friends should still have some sort of beginning, middle and end related to the journey he or she takes in the book.

HARRY POTTER EXAMPLE: While the first book in the series is about Harry learning his true history and facing his greatest enemy for the first time, it is also about his journey from a lonely boy to a boy with friends. His friendships with Ron and Hermione wouldn’t be enough on their own to fuel a book about wizards, but they do give Harry a personal arc to go along with his hero arc, making him much more relatable in the process.

But perhaps the biggest clue that two (or more) characters are friends? Fun! Don’t be afraid to let your characters – even in the darkest and grittiest of dramas – have fun with their friends. That joy is the glue that has kept them together and that shows your reader the depth of your characters’ friendships.

Friendship is one of the most central relationships tweens and teens have. Whether you’re writing a space opera, a modern rom-com, a historical fantasy, or something else entirely, friendships are a great way to zero in on your novel’s heart.

 

 

RICHELLE MORGAN writes, works, plays and drinks too much coffee in Portland, Oregon, often in the company of her husband and their three spirited children. When not writing fiction for young adults and children, she pens fundraising letters and other marketing copy for progressive nonprofit organizations. Richelle keeps an occasional blog about nonprofit marketing and communication. She has also written feature articles for The Oregonian, and her short fiction has appeared in Voicecatcher. You can find her on Twitter.

Dear Ophelia and the Marvelous Boy

I’ve been writing love letters to books that shaped me, as a person and as a writer, and for this month, it’s Karen Foxlee’s Ophelia and the Marvelous Boy. I so enjoyed this book, a dreamy and beautiful retelling of the Snow Queen. What I want to talk about today, though, is how it influenced my writing.

I write contemporary fantasies, and love to come up with sumptuous settings and vast and daring adventures. When writing my first book, though, I kept getting feedback that readers weren’t connecting with the main character. I tried all the tricks for character development. I wrote questionnaires and character sketches galore. I composed backstory that would never see the light of day, and even drew pictures. Nothing.

When I met Ophelia, it finally clicked. The story is just the kind I like, with a heartbreak at its center, and an epic battle to save a beloved driving it on. But this character was so likeable. I devoured it for the story, but I studied it for the technique. How did she do that?

A few things, I decided. Done so quickly that they could easily be missed, but crucial in establishing character immediately. Consider the title of chapter one: “In Which Ophelia Jane Worthington-Whittard discovers a boy in a locked room and is consequently asked to save the world.” That is followed swiftly by the first line: “Ophelia did not consider herself brave.” Right away we know both that Ophelia is going to have to do something very important, and that she is not going to be thrilled about it. That makes me curious, and it makes her seem self-effacing. I like that.

Ophelia’s reluctant bravery is a characteristic carried throughout the story. Every time that marvelous boy locked in the room asks Ophelia to do something, she says no. Then, grudgingly, she does it anyway, because she can’t just leave him locked in that room. She takes on incredibly scary tasks, but hems and haws and complains the whole time, which certainly seems relatable to me. I wouldn’t want to go walking through rooms of ghosts, either.

Foxlee also gives Ophelia a few idiosyncrasies that help us to see her more clearly, and that show us Ophelia’s fear without her having to remind us. Ophelia makes lists to distract herself. She tugs on her braid when she’s worried, and when she gets really scared, she has to take a puff of her inhaler. Isn’t that perfect?

I began to think anew about other characters I love. In Harry Potter and the Sorcerer’s Stone, we see the Dursleys’ horrid treatment of Harry, and then one of the first things Harry does is free an unhappy snake from its cage. He is an underdog, and he wants to save other underdogs. In The Golden Compass, we see Lyra hide and eavesdrop, but ultimately come clean and risk punishment to protect her uncle. She is sneaky and has a strong sense of self-preservation, but also a redeeming moral code.

It isn’t merely about fleshing out character, I realized. Lists of their favorite ice cream flavors and the like weren’t helping, because they didn’t reveal what the reader needed to understand about the character for this story. Ophelia’s inhaler sure did, though. I now believe that the key to a good characterization is to understand the character’s defining quality that drives the story, then give a clear early example of it and a few tics or traits that show it throughout. For that understanding, I will always be grateful to Ophelia and the Marvelous Boy.

Favorite quote:

Ophelia had never been prophesied before. It made her feel annoyed.

Kate Hillyer writes stories about brave girls who fight for what they love. She blogs here and at From the Mixed-Up Files of Middle Grade Authors. She currently serves as a Cybils judge for Poetry and Novels in Verse. You can find her on Twitter and at www.katehillyer.com. 

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Road Trip!

We spend a lot of time writing our own thoughts here at The Winged Pen. But there are a ton of other blogs and sites we visit for inspiration. So we wanted to give a shout-out to some of the informative, motivating and moving articles we’ve read in the last few weeks.

Join us on our first-ever blogosphere road trip!

On Craft

Tips on writing multiple POVs…three ways to harness your reader’s curiosity…helpful hints on editing and revising…five tips for writing antiheroes…and a post from the legendary Donald Maas on creating legendary characters

…All (and more!) made our list of must-read craft articles this past month.

On Publishing/Marketing

Did you see this Twitter thread from Agent Mandy Hubbard about what happens during book deal negotiations? Great info for writers.

On the Writer’s Life

To go with Richelle’s recent post on surviving a tough draft, here’s a great article on the benefits of taking a break, from publishingcrawl.com.

And if you’re itching for something new to work on, here is a whole mess of contests for 2018.

On Books/Authors

Epic Reads has an epic list of #ownvoices new releases for 2018! We. Can’t. WAIT!

Audiobook Indie bookstore Libro.fm put together an awesome playlist based on Julie’s audiobook post — check it out!

This is a good list of children’s books to help you talk about race with the children in your life — or read them yourself to spark new ways of thinking about some tough issues.

For Fun!

Must. Subscribe. Immediately.

And to warm your heart, how freaking awesome is this???!

Our Winged Pen Twitter fairies are AMAZING at finding and sharing informative and fun posts about writing and publishing, so be sure to follow us there.

And be sure to give a shout-out to your favorite writing blogs and resources in the comments below…we’re always looking for new places to get inspired.

How to Survive Your Toughest Draft

For the last couple of years, every time one of my writer pals would ask me what I was working on, the answer was the same breezy, “Oh, I’m still plugging away on that rockstar mom book I told you about ages ago.”

I’m pretty sure that more than a few of them wondered if I shouldn’t just give it up and move on to something else. Something that would actually get written. And if they didn’t, they were stronger, better writers than me because that was something I wondered every time I sat down with my laptop.

But I persisted, mostly out of sheer stubbornness, and I completed a very, very messy first draft in April of last year. In November, I finally had it shaped into something resembling a novel.

FINALLY!

I’m not sure why this draft took so much longer than anything else I’ve ever written. I could cite a busier-than-ever family life, or a robust year of paid freelance work. Maybe it was because most days, I can be best described as a “ball of anxiety with fingers.”

But I can tell you how I got through an interminable draft (and managed to avoid quitting writing entirely!).

I Was Selfish. My mantra this past year has been “eyes on your own paper.” I withdrew from social media, avoided contests, and spent a lot less time engaging with other writers. It was difficult, and I felt like a jerk, but I knew that my top priority needed to be getting my work done. I am thrilled for my friends who have been out in the world this past year, but I knew I would not be with them. Not right now. Right now, my entire focus had to be a bit selfish. Eyes on my own work.

But Not Too Selfish. Instead of focusing on what *I* wanted – to finish the draft, to write a great book, to get an agent, to get a publishing contract – I made a choice instead to focus on service. We’re writing books for people, specifically children and/or teens, to read. So while I wanted to tell the story of my heart, I kept in mind that, ultimately, that heart-story needed to be in service of the teenage reader. That guiding star helped me re-focus when my way wandered and kept me writing when it seemed I would never get done.

I lowered my expectations. For years, I wrote 1,000 words a day, five days a week. I had reasonable expectations of finishing a draft in a couple of months, of being able to query a book every year, of catching the attention of an agent in the near future. But this year, I realized that wasn’t going to be possible. I spent some time looking over those expectations in a bright light, and I realized that they weren’t doing me any good. I’m a goal-setter and a rule-follower, but that doesn’t matter much in the wider world. No one is lining up to give me a cookie because I did things in the right order, in the right way, at the right time. So I made 2017 the year of NO expectations, other than that I would keep my head down and keep writing.

I used a timer. In order to take some pressure off but still keep getting words down, I started writing for 15 timed minutes each day. That was it. When the timer went off, I stopped. If it was the middle of a sentence, so much the better! That way I had a starting point for the next day. There were days when I only logged 5-10 words on a tricky scene. But I counted those as writing sessions and just kept going.

I relinquished control. Years ago, a colleague of mine listened to me rant about how other people were failing to do their jobs and it was ruining what I was doing. She said, “Well, you can’t control the outcome. You can only control what you put in to it.” That rattled through my head this year. I can’t control what happens with this or any piece of writing. All I can do is control what I put into it. So that is all I worried about.

I reached out. A few times over the course of the year, I did reach out to other writers to share what was going on with me and to reconnect with their work. Getting out of my head was important, but even better was the chance to share in others’ creative processes, successes and challenges. I went out and saw art and live music, too, feeding my own creativity. Writing is so solitary that it’s nice to remember there are other artists out there traveling a similar path.

I looked for joy, not results. I won’t sugarcoat it: for months I was pretty sure I was going to quit writing entirely. Writing for me is a singular joy. Word counts and pursuing publication and developing platform are not joyful. Letting go of the results side of writing for goal-oriented me was painful for my ego, but it was manna for the creative part of my soul, the part that just wants to play with words and stories and doesn’t actually care if anyone reads them. That play without pressure was revitalizing in a way that I desperately needed this year.

Some might call what I experienced this past year Writer’s Block. But I don’t think that’s what it was, even after taking two years to draft a novel. After all, I wrote all the time, and the words flowed fine, when I could find the time to let them flow.

But something happened with this year, with this manuscript that tested me – and I was reminded again that writing fiction is not for the faint-hearted!

If you find yourself facing a similar time of slow production mixed with a bit of despair and a burning desire to quit the game entirely, I have some advice:

Take a deep breath.

Then: Head down, do the work however you can, don’t worry about the mess, keep your eyes on your own paper.

Find your joy.

 

RICHELLE MORGAN writes, works, plays and drinks too much coffee in Portland, Oregon, often in the company of her husband and their three spirited children. When not writing fiction for young adults and children, she pens fundraising letters and other marketing copy for progressive nonprofit organizations. Richelle keeps an occasional blog about nonprofit marketing and communication. She has also written feature articles for The Oregonian, and her short fiction has appeared in Voicecatcher. You can find her on Twitter.

What Did I Do in 2017?

The end of the year is close. When I changed the calendar from October to November, I felt as if I wasted the entire year. Of course I spent too much time on social media, binge-watched several TV shows, and stood for what seemed like hours in front of the coffee machine waiting for the cup to fill, but as far as writing, what exactly did I do this year?

Photo: Estee Janssens

I didn’t want to dwell on my procrastination, but I thought if I took a good look at what I did – or didn’t do – this year, maybe I would learn something about myself as a writer and as a person that could help when making my goals for next year.

I know it’s scary, but play along with me. (Don’t make me do this alone!) Take out a pen and paper and start your list. First, what did you do and second, what did you learn.

Here’s mine:

  1. The first five months of this year I revised my YA contemporary novel. Every time you revise and open yourself up to critiques, you develop your craft. With this particular novel, I learned about dialogue, specifically what’s boring or repetitive, and how to make dialogue fun.
  2. I spent several months this year forcing myself to write a novel that clearly didn’t want to be written. A friend suggested now wasn’t the time to write it, but how could that be? You have an idea, you write. If I’d looked at the novel objectively, as she did, I wouldn’t have spent so much time forcing it.
  3. I wrote three rough synopses and four rough outlines for new books. I don’t just write for The Winged Pen, I read and cherish the writing tips. This year I took those tips and changed the way I start manuscripts. This helped me see the complete idea and the direction it needed to go.
  4. I wrote sixteen posts for The Winged Pen. The key here is writing. Some write for their jobs, some do fifteen minute writing warmups. The fact is, the more we write, the better we get.
  5. I critiqued six manuscripts and short stories (including my first paid editing job!) Critiquing is one of the best ways to grow as a writer. When we read and critique others, we identify mistakes we make in our own writing. And personally, reading good work from others pushes me to become a better writer.
  6. I wrote and revised one short story. Just like reading different genres, experimenting with different writing styles, genres, and lengths can open up new strengths and passions.I had attempted to write several short stories in the past, but finishing one gave me a new level of confidence.
  7. I read novels, short stories, and craft articles. Reading is necessary for all writers because it helps you grow as you learn new tips and develop new ideas. Reading also supports other writers, and for me, it is therapy.

As this year ends and we set goals for 2018, forget the times of procrastination and focus on what you learned this year. The Winged Pen wrote many posts to help and entertain you on your journey. Below are a few of my favorites.

The Winged Pen took writers from the big idea to the final product in the novel writing Master Your Craft series.

Need help finding critique partners? Here are a few tips. Another Magic Formula and How to Give a Good Critique.

The Pennies are big readers. Check out a few of our favorite books. Shannon Hale’s Real Friends and Neal Shusterman’s Scythe.

Have trouble navigating social media? These posts can help. Creating Your Social Media Platform and Twitter 101 For Writers.

The Winged Pen looked at diversity this year. Writing Other with Sensitivity and Writing About Native Americans – A Diversity Conversation.

And don’t forget our monthly Four on 400  contest. Four critiques on your first 400 words.

HALLI GOMEZ teaches martial arts and writes for children and young adults because those voices flow through her brain. She enjoys family, outdoors, reading, and is addicted to superhero movies. Her middle grade science fiction novel is represented by Kathy Green of Kathryn Green Literary Agency. You can find Halli on Twitter.

 

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Writing About Native Americans: A Diversity Conversation with Kara Stewart

Welcome to The Winged Pen, Kara! Thank you for taking the time to talk with us about Writing About Native Americans. I know many readers/writers in my circle are eager to learn more about this topic. Tell us a little about yourself and your passion for Native American Literature, especially for children.

Kara: I’ve been a Literacy Coach and Reading Specialist in the public schools for twenty years. I was the Honor winner in 2014 for Lee & Low’s New Voices award, and am still working on that manuscript! I’m an enrolled member of the Sappony and have served a number of terms on the North Carolina State Advisory Council on Indian Education and my Tribal council, am an educational consultant, and was the recipient of a University of North Carolina’s 2015 Community Diversity Award. I’m also an SCBWI Carolinas member.

As a Sappony person, I’ve done a lot of stereotype busting in the schools. Instruction is driven not just by data, but also by popular literature, resources, and what people think they know, and when those concepts are inaccurate and full of stereotypes, so is the instruction and hence, the learning. I want to break that cycle of misrepresentation for all children so that it won’t continue to roll on for the next three hundred years as it as for the past three hundred years.

Based on the most recent data from the Cooperative Children’s Book Center, although there has been a small increase in the number of books written about Native Americans in recent years, the number of books written by Native American authors remains rather flat.

Related to this information, is it okay for non-Native Americans to write books about Native Americans or with Native American main characters? Should these types of books primarily be #ownvoices? What type of knowledge/experience should an author have before they write a book about Native Americans?

This has been quite the controversial topic over the last few years. I can’t give ‘the Native opinion’ – I can only give my personal opinion. After reading hundreds of books about and including Native people by non-Native people in a professional capacity and as a parent (now a grandparent), I do believe these books should be #ownvoices.

My reasons fall into two major categories:

1)    Colonialist/inaccurate/stereotypical portrayals- I have read books by non-Natives that technically have the facts correct, but the overall atmosphere of the book is still colonialist, which was most likely not the author’s intent. But does intent matter when a child reads that book and either has the colonialist mindset reinforced, or a Native child is given reminders that their family is ‘less than’? Can you, as a non-Native writer, recognize when your words combine in a way that perpetuates a colonial mindset?

2)    We should leave these stories for Native authors to tell, ones who are finding it difficult to get published. Many agents and editors seem to find the colonial/inaccurate/stereotypical content more palatable and probably marketable, as it is the same content about us that has been cycling for hundreds of years.

I’d like to take this opportunity to give air time to some authors who have already written phenomenal blog posts about this topic. Writers will find a lot to chew over in these posts.

·      Jacqueline Woodson’s Who Can Tell My Story in The Horn Book

·      Torrey Maldonado’s Write What You Know: Encouraging Young Authors of Color on Ideas Never Sleep

·      Torrey Maldonado’s Demand Change in the Publishing World on Ideas Never Sleep

·      Celia C. Pérez’ When Google Translate Gives You Arroz Con Mango: Erroneous Español and the Need for #ownvoices in The Horn Book

·      Sarah Hannah Gomez’ How Privilege and Diversity Affect Literature and Media on Scoop.it!

·      Margarita Engle’s Cuba For Beginners on Multiculturalism Rocks!

I’d also like to invite writers to read some of my blog posts on writing about American Indians to get an idea of the nuance necessary (with over 567 very different sovereign federally-recognized nations and hundreds more sovereign state-recognized nations, nuance is everything), and real life consequences to Native people:

·      Writing About Native Americans

·      On Obligation and Percy

·      Indian 101 for Writers – co-written with Alison DeLuca, a five part traveling blog series that can be used as a mini-course and perhaps the most important resource in this post specific to American Indians.

With the push to make sure children’s literature mirrors the diversity we see in the real world, many authors are trying to be more inclusive with the characters in their novels.

Is it okay for authors to write novels with supporting characters who are Native American? What advice do you have for avoiding stereotypes and harmful narratives?

Professor Snape was a secondary character. Yet we knew him deeply – or so we thought! He was fully fleshed out and came alive from his mannerisms and attitudes to his outward manifestations of his beliefs and motivations.

Secondary, and even tertiary, characters shouldn’t be demoted to the token Indian, or the speck of diversity to attract an agent or editor. I think writers need to ask themselves why they want to write a Native character. See more on this on Questions Agents and Editors Can Use To Evaluate Native Content.

A tool you will want to learn to use to avoid stereotypes and harmful narratives is the Criteria From How To Tell the Difference: A Guide for Evaluating Children’s Books for Anti-Indian Bias (adapted from oyate.org).

It was created originally by the wonderful people at Oyate as a tool to evaluate already-written books. Media specialists and teachers who attend my workshops report afterwards that it does take three or four passes at evaluating books before they feel they have the hang of it, but through using it they have become much more adept at recognizing harmful narratives, inaccuracies and stereotypes. Writers can also use it to learn to evaluate their own writing, although they will most likely need to study Indian 101 for Writers first. The Criteria would be a great activity for writing critique groups.

As writers, you will also want to be sure to use sensitivity/beta readers. This is a great way to find problematic language and bias you may not realize are in your writing. You can find helpful thoughts and even a spreadsheet full of people willing to be sensitivity readers on Writing In The Margins. Debbie Reese has also written a very helpful post on her blog American Indians in Children’s Literature that is specific to Native content. If you do hire a sensitivity/beta reader, please be sure to believe her or him. It is discouraging when you care enough about your group to offer these services, but your feedback is primarily met with the author defending their writing.

Those are great points, Kara! We talked about sensitivity readers and the importance of well-developed characters in this recent post. What can we do as consumers, educators, writers, and readers to increase the number of books written by Native Americans and to raise awareness about correctly portraying Native American culture in literature?

The good news is that there are many things you can do! The number one best thing you can do is to educate yourself, which means being willing to put in a LOT of time reading and thinking – not just about Native Americans, but about yourself, and being willing to seriously consider and reconsider beliefs you may hold, uncomfortable as that may be.

One tool to help you with this is Indian 101 for Writers. If you are serious about wanting to learn as a writer, reading all five parts and investigating the resources listed in it will be a mini-course worth your time. Take your time and let the information sink in.

Another great thing you can do is promote Native authors. There are so many amazing books out written by Native authors! Debbie Reese has a Best Books page by year that includes very recently published books, and the North Carolina State Advisory Council on Indian Education has a lengthy Recommended Books About American Indians list. Just a few of my personal favorites are Tim Tingle’s How I Became A Ghost and Saltypie, Eric Gansworth’s If I Ever Get Out of Here, Louise Erdrich’s Birchbark House series, We Sang You Home by Richard Van Camp and Julie Flett, and Cynthia Leitich Smiths Jingle Dancer.

Thank you, Kara! So many great resources and things to think about in your responses! We greatly appreciate your time and your dedication to helping other writers and readers!

Thank you, Michelle, for inviting me to share my thoughts and information with you and your readers!

For more great books written by Native Americans, check out our post from last month on Native American Literature for Young Readers.

For more information about Kara Stewart check out and follow her blog From Here to Writernity. Or follow her on Twitter.

 

 

 

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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MYC: Do You Need Feedback? Yes!

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 Writing with Your 5 Senses  This week, we’re discussing feedback.

Writing is a lonely business. We joke about our “co-workers” being animals and cups of coffee, and for the majority of the work, such as drafting and querying, that is true. But there comes a time when we need to get out of our pajamas and reach out to others. Critique partners and feedback are necessary parts of the writing life. Let’s face it, writing is hard, revising is hard, and rejections are heartbreaking. We can’t, and shouldn’t, bear those alone. Today three Pennies, Richelle, Halli, and Gita, are here to help.

Where Can We Find Critique Partners?

Richelle: A good CP who gets your work makes a huge difference. Conferences, online contests, and message boards are all great places to find them.

Halli: I found my first CP’s at an SCBWI conference and others through the SCBWI discussion groups. (See a pattern?) Some work, some don’t, but CP’s should offer the right amount of support and honesty for you and your writing.

Gita: Conferences are a good place to look—that’s where I found my first two, who have stuck with me through all sorts of stormy weather. Contests, too. In terms of qualities to look for, you need to have readers who will both call you out and cheer you on.

When Should We Seek Feedback?

Richelle: I usually get one or two people to read my first coherent draft. I may send a couple of chapters out for spot checks at any point during writing. I do another round once I’ve got it basically “done”. And I usually ask for a few volunteers to look at the first 3 chapters right before I query.

Halli: I wait until I have a pretty decent revised draft. When I have a good hold on where the characters are going and what they want to see out of their story. That way when feedback comes, I know if my vision is clear.

Gita:  I’ll ask for readers on a pre-draft query or synopsis, then a long synopsis outlining my story (15,000 words), followed by a few readers reading the first draft and, then, finally, I’ll ask for feedback on what I think of as the second-to-last draft. Phew! I’m lucky to have CPs who are willing to read twice. They are GOLD.

How Much Feedback Should We Get?

Richelle and Halli: For us, 3-5 trusted readers are the sweet spot for the whole manuscript. The list gets longer when you figure in those who might help with the first couple of chapters, a query, a tricky spot, or a specific issue about which they have expertise. We find too much feedback overwhelming, but we need enough to get a sense of what’s generally working and what’s not.

Gita: I like to do a few rounds of feedback at different stages of the drafting process. The number of people reading in each round may vary—sometimes it’s just one person, sometimes a few at once. Getting several responses at once can feel overwhelming, but it’s also useful, because if a few people say a certain character isn’t working, I’ll know I’ll have to deal with that!

When is it Okay to Ignore Feedback?

Richelle: I usually ignore comments that either really didn’t get what I was trying to do or that are the opposite of what other readers are saying. But even then, I mull them over. Sometimes they’ll spark something later on.

Halli: I group my critiques together and see what the majority says about a certain issue. If the majority understands (or doesn’t), I will put aside the random comment. But only after I make sure to look at the CP’s life experiences that may have influenced their comment.

Gita: I never ignore feedback. My reader took time to respond to my work and I will always ponder what they have to say. Sometimes a comment—especially one that’s proscriptive, telling me to do x—may not at first seem to be useful, but if I dig down to the “deep” comment below the “surface” comment, there’s often something there.

How Can You Survive Feedback?

Richelle: When I started out as a copywriter, I had a boss who marked up my work with red pen and labeled it “AWFUL!” or “BORING!!!” (with triple underlines and big, fat red circles). So I am pretty Teflon when it comes to criticism. That said, I prefer working with people who critique in a positive and cheerleading manner. If you struggle, try to remember that when people critique your work, they’re not saying you are bad, they’re saying that you have the power to make your work better.

Halli: This is one of the places you need thick skin. It’s hard not to take critiques personally because we’ve put so much energy into our stories and I have been known to scream, cry, and sulk after reading them. I do try to read the comments and take a step back. A day, two days, a week while I let my brain process the meaning. Then I dive back in.

Gita: Unless I know what to do right away, I print out the notes, write my responses in the margins, and then let the feedback sit for a week, or more if I have time. Everything looks more doable after a little time has passed.

What was the Best Feedback You Received?

Richelle: My two best moments of feedback came at at a workshop. An agent rebuked me for being too prescriptive in some feedback I was giving in a small group, which was a lightbulb moment for my own writing. Now I ask myself questions instead of dictating ideas, and it makes a huge difference in how I develop characters and plots. And another agent gave me the feedback gift of completely understanding and articulating what I was trying to do with my novel.

Halli: The best feedback came just recently from an agent’s first reader. It was glowing. All of it. She got me, my characters, and our story. It was a dream come true review.

Gita: This wasn’t feedback per se, but more of a meta-comment from my agent about dealing with her feedback. In a preface to her notes, she told me that her edits were not instructions, but suggestions—even if they didn’t sound that way. This is really important to remember.

What was the Worst Feedback You Received?

Richelle: I received some editor feedback last year on a pitch that was complimentary, but very vague. I had no idea what she wanted to see, and I’m not sure I succeeded in implementing it at all!

Halli: The hardest feedback I received was also one of the best writing lessons. “Your book starts in chapter three. Toss the rest.” I didn’t understand at first because it was the backstory that set up my character’s personality. You see where I’m going right? First chapter and backstory should not be in the same sentence.

Gita: I find structural changes—hey, move this chapter closer to the beginning—the hardest to implement, because even a “small” structural change like that can affect so much of the manuscript.

We hope this post helps you understand the good and bad of feedback. It’s a necessary evil, but one that will allow you to continue growing as a writer. For more information on finding critique partners, being one, and dealing with feedback, check out these Winged Pen posts: Finding Critique PartnersMore on Finding Critique Partners, The Seven Stages of Writerly Grief, and How to Give a Good Critique.

See you next week for our Master Your Craft post on Editing.

 

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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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