jodyfeldman

"So," the adult questioner often starts, looking a bit embarrassed. "How is it that you can write for kids when ..." The questioner pauses, wondering how to phrase the rest without offending me. If the silence lasts for more than a second and if I’m feeling charitable, I’ll chime in, "When I’m not a kid anymore?" The questioner will let out that chuckle of relief.

It’s a very legitimate question. The most effective writing needs to come with an authentic voice relaying authentic concerns and displaying authentic emotions. So how does a children’s author recapture all that?

I contend that many feelings are deeply imprinted in our memories or we probably wouldn’t be writing for kids. Even certain smells can drag up classroom incidents for me. So that part is relatively easy, I tell them. I just need to channel my inner school-age student. Take what’s lying deep inside and bring it back out, warts and all.

That's not all I do. My car radio, I say, is set to current pop stations. I watch reality TV and the Disney Channel and cartoons. I play video and computer games. I pause when I’m passing school yards and soccer games. I do some innocent eavesdropping at malls. That’s simple, too.

There is, however, one element that’s harder to recapture. That’s the physical stuff. Tying a shoe is second nature to adults. So unless we had a particularly traumatic shoe-tying experience, can we effectively show a kindergartner’s frustration with learning the task? That’s where inside-out experiences come into play. I've done many  things to dissect the way kids experience new challenges. What do I mean?

Consider this short list of activities, some I’ve tried and some I haven’t yet.

1. Switch hands. Try tying your shoes left-handed if you’re not. Or curl your hair with your non-dominant hand. Or try throwing a ball or coloring with crayons or even reset your mouse for other-handed use. Notice how you need to stop and think about how to accomplish those otherwise small feats.

2. Open a book, even a basic primer, in Portugese or German or French or any language you don’t understand. You’ll know how a non-reader feels.

3. Write out simple words, but do it in Hebrew or Chinese or Aramaic or another language that doesn’t use our alphabet. Notice how you need to think before you form the letters. Harder yet, do the same with your non-dominant hand.

4. Face your fear. Hate heights? Climb a rock wall or do a ropes course. Spiders and snakes creep you out? Find a zoo that’ll let you touch. Because you’re controlling the experience and expect the adrenaline, you can better chronicle your feelings, both emotional and physical.

5. Handicap yourself. Try to communicate to your family without talking or writing or charade-like miming. Spend a day at knee level to see how hard it can be to do routine tasks. (I’ll be extraordinarily impressed if you last a full hour.) Or, at the other end of the spectrum, borrow a pregnancy tummy to see what that feels like.

And of course, use what life deals you.
*Show up under- or overdressed? What would a kid think in the same circumstances?
*Fall flat on your behind? Regroup, assess, discover you’re not broken then remember every sensation, from the slow-motion thoughts to the ground-hitting bumps.
*Get caught in the rain? How would your character feel if she’s a prom queen rather than a worm digger? 

And now, it's your turn! I need to go dry off.

susanuhlig

What Really Happened to Humpty is Jeanie Franz Ransom’s first mystery, and her first collaboration with private investigator Joe Dumpty.  Doesn’t that sound like a fun story?  Let’s go talk with this picture book author who has 5 books in print.

Q.  Jeanie, what got you started with the idea of writing a mystery about Humpty?

A lot of my ideas come from wondering “What if?.”  In Humpty’s case, it was “What if Humpty Dumpty hadn’t fallen off that wall by accident? What if he was pushed?”

 I’d never written a mystery before, so I really had no idea what I was getting into. What started out as a simple picture-book whodunit became more complex. A minor character wrote herself into a major role, and the plot had more twists and turns than I’d originally planned. 

Q.  You sold your first piece to Seventeen at age 17 which obviously means you had some talent!  However, in your bio you mention that you didn’t seriously start writing for children until you had your own children.  What was it that made you decide to go that direction?

I’d never thought about writing for children until I became a mom. I’d written for “grownup” magazines for years, and also was an advertising copywriter. But when I started reading to my first child, I thought how easy it would be to write picture books. They were nice and short, like the ad copy I wrote. I mean, how tough could it be, right?  I soon learned that although it may be easy to write a picture book, to write a good one, and to get it published, is an entirely different story.  

Q.  What was the first book you sold? When did it come out? Can you tell us about how you chose that topic?

The first book that I sold was GRANDMA U. Three months later, I sold I DON’T WANT TO TALK ABOUT IT. However, the second book that I sold came out first (in 2000), and the first book came out second (in 2002). Are you still with me here?! That was my introduction to the picture-book publishing process.

I got the idea for GRANDMA U when one of my sons asked, “How does Grandma know so much about everything?” I thought about it. Maybe grandmas go to a special school to learn how to be grandmas. And that’s how GRANDMA U got its start.

I chose the topic of divorce for I DON’T WANT TO TALK ABOUT IT because my sister was going through a divorce. My niece was quite young at the time, and I couldn’t find a book anywhere that wasn’t too long, too complicated, or too outdated, so I decided to write my own. Nine years after publication, I DON’T WANT TO TALK ABOUT IT is still in print, and has been translated into several languages.

Q.  What are the advantages and disadvantages you’ve found from working with multiple publishers?

From my experience, the advantages far outweigh the disadvantages. In fact, I am hard pressed to think of any disadvantages. The main advantage is related to the “Don’t put all your eggs in one basket” philosophy. Having more than one publisher is job security. Even if one house is temporarily closed to submissions – or ends up closing its doors – you’ll still have another publisher who is open to your work. Having multiple publishers also increases your chances of making a sale.

Q.  You said you are now working on a middle grade novel.  What can you tell us about it?

I can tell you that it’s not done! (-:  But I have several people in my life nudging me to finish it, so I imagine it will see the light of day sooner or later. The book is called WHAT I DIDN’T DO ON MY SUMMER VACATION, and it was inspired by my work as a school counselor. It seems that every kid has to start the school year writing about their summer vacation. But not every kid has a wonderful summer. Parents divorce, pets die, friends move. I had one student in particular in mind when I started this book – her father died over the summer and all the fun the family had planned went right out the window.  

Q.  Right now marketing books is tough.  What advice would you give to other writers?

I think you have to get a little more creative. Every writer needs a website. Beyond that, the avenues for self-promotion abound, with more opening up all the time. The social networking sites can be useful, including having a Facebook page. Look for opportunities to guest blog, start your own blog, or both. Podcasts are another marketing tool, as are book trailers. Then there’s Twitter. If stuffed animals can have followers, you should be able to, too!

It’s also important to make person-to-person contact with potential buyers of your books, through book signings, school visits, library programs, or conference workshops. Giving away a clever promotional item which ties in with your book at signings and special events can help people remember you. Just make sure to include your name and website info. Bookmarks are great, but everyone does them. You don’t have to spend a lot of money, either. For example, in my latest book, WHAT REALLY HAPPENED TO HUMPTY?, the main character, Joe Dumpty, is a private detective.  I had some business cards made up for Joe, and attached a miniature plastic magnifying glass to each one. The business cards cost me next to nothing, and the little magnifying glasses were a whopping $4 for bag of 144.

Closing Comments:  Wow, what a great idea for Joe Dumpty.  Thanks for sharing with us, Jeanie!

Award winning author Jeanie Franz Ransom resides in St. Louis, Missouri.  Here’s Jeanie’s website for more insight into her and her works: http://www.jeanieransom.com/index.html - you can check out her Ransom notes, too.

susanuhlig

I met Jennifer Ward on Border Lines, a 2-way list serve between Missouri and Kansas SCBWI.  What really impressed me was her goals, so I’d like to discuss them here, as well as a few other issues.

You mentioned that one of your goals “was to place two new picture books for 2009” and announced you received an offer from Marshall Cavendish.  Can you tell us about that picture book and recent acceptance?

JW:  It's a companion title to two other titles I have written, each patterned after the traditional song, "I Know an Old Lady Who Swallowed a Fly".  The recent acquisition  features a princess with an odd diet.  She eats her way through fairytale/princess elements. 

How do you balance work with down time (walking, running, reading for pleasure...)?

JW: I begin each day by making a list of things I would like to accomplish that day.  Items that aren't completed are carried over to the following day.

Running, household chores, downtime, work related items - they're all on the list each day.  Taking care of myself (exercise) is as important as getting my work done.  If anything tends to get pushed to the bottom of the list, it's often housework (dusting, laundry, etc.), although I do keep a pretty tidy house. Most days.

In addition, I prioritize my daily list if certain items mandate immediate attention, such as deadline related work.

How do you structure your work day (hours of BIC* vs. gardening vs. house work...)?

JW:  The morning begins by creating and reviewing my list of daily to-do items.  Sometimes I will designate a day to entail a certain number of hours of BIC.  Sometimes, the business aspect of writing (marketing, travel, speaking, web updates, etc.) take precedent and eat up the day.  If my garden beckons and the BIC gets pushed aside, then I make up for that BIC time in the evening or at night - as long as it gets done that day so I can mark "D for Done" on my list.  I have a writing colleague (Toni Buzzeo) who holds me accountable for my list, and I do the same for her daily list.  The first thing we do each morning is share our daily to-do lists, and then we compare D's ("D for Done" items) at the end of the day.  My work hours are certainly flexible, a benefit of being self employed, but they do exist as work hours.  The one exception is weekends.  I try to keep my weekends less work related than my week days.

I read on your website that you divide your time between Arizona and Illinois.  How did this come about? Can you tell us what it is like living and working in two locations?

JW:  I divide my time between Illinois and Arizona because I have immediate family in both states.  Although I now have a permanent residence in IL, most of my writing career evolved while living in Arizona.  As such, many schools and libraries in Arizona know of me and my work and invite me out there to speak quite regularly, of which I am very grateful for.  While I'm there, I usually stay with family. 

However, I now do most of my writing while at my home in Illinois. 

Balancing writing and travel is a challenge.  I try to schedule certain months out of the year specifically for promotion/speaking and travel, and certain months home in IL to write.  This allows me to have uninterrupted months without travel that I may focus on writing.

Speaking of your website, www.jenniferwardbooks.com, I really like the design.  Did you build your website yourself, hire it out, or ?

JW:  Thank you.  I hired Max Haynes to create the logo and background "wallpaper" designs, which he then sold to me for a reasonable flat fee.  From there, I put the design of the website and its pages together myself. It's not perfect because I really don't know what I'm doing, but it works well enough for the time being.

How many books have you published?

 JW:  Let's see...in order of publication:
1.   Way Out in the Desert (hardcover, plus a board book), illustrated by Ken Spengler
2.   Somewhere in the Ocean, illustrated by Ken Spengler
3.   Over in the Garden, illustrated by Ken Spengler
4.   The Seed and the Giant Saguaro, illustrated by Mike Rangner
5.   Forest Bright, Forest Night (hard cover, plus a board book), illustrated by Jamichael Henterly
6.   The Little Creek, illustrated by Julie Scott
7.   There Was a Coyote Who Swallowed a Flea, illustrated by Steve Gray
8.   Way Up in the Arctic, illustrated by Ken Spengler
9.   Because You Are My Baby, illustrated by Sylvia Long
10. I Love Dirt!, illustrated by Susie Ghahremani
11.  Let's Go Outside! (summer 2009), illustrated by Susie Ghahremani
12.  The Busy Tree (fall 2009), illustrated by Linda Falkenstern
13.  There Was an Old Monkey Who Swallowed a Frog (spring 2010), illustrated by Steve Gray
14.  There Was an Odd Princess Who Swallowed a Pea (release date tbd)

Looks as if I am at 14 at present, not counting the two board books which (I love this!) have their own separate contracts and royalties attached : )

How many school visits do you average in a year?

JW:  I try to visit at least twenty elementary schools annually, in addition to library visits, college talks, speaking at conferences, signing and speaking at special events/venues and squeezing in book store signings in the mix.  When it's all said and done, on average I complete about fifty venues a year.

What is the most important thing you think a writer needs to do?

JW:  The most important thing a writer needs to do is write.  It's easy to think about wanting to write, and to talk about wanting to write, and to think in your head that you will someday write. But you actually have to do it. BIC.  Practice.  Get the words down.  Then, mold, craft, revise, tweak, tighten and polish.  Enjoy the process.

It's also necessary for writers to read.  I believe it's important to become well-read in the genre you're interested in writing.  Also, read outside of your comfort zone, from a variety of sources and genres. 

Finally, if a writer's purpose is to become published, then he should become familiar with the market, industry and various publisher lists (who is publishing what.)  This will enable him to target and submit his work wisely.

*BIC – butt in chair

susanuhlig

I met SueBE, as she is affectionately called because of her email address, when she was the Regional Advisor for SCBWI Missouri. She’s been an encourager and an inspiration to me. Recently she had an article in WOW! Women on Writing that you won’t want to miss if you’re interested in writing fantasy. Here’s the link: http://www.wow-womenonwriting.com/30-FE2-WritingFantasy.html. Also check out a guest post on Sue’s blog by Lee Braff (http://suebe. wordpress. com/2009/ 06/17/fantasy- subgenre/). According to Sue, Lee is a huge fantasy fan and wrote to her about a subgenre Sue had left out in her article. “Realizing how much information she had shared with just little ol' me, I asked her if I could post it on my blog and, fortunately, she said yes.”

Now for some Q & A . . .

Question: I often see your articles in Children's Writer. How long have you been writing for them? Are you/have you been an instructor for The Institute of Children's Literature? For how long?

Although I've never been an instructor for the Institute of Children's Literature (ICL), I've been writing for them since 2000 when the editor asked one of her writer's for the names of other writers that would be suitable for this kind of work. This writer, an acquaintance from a Kansas SCBWI conference, sent in my name and I've been writing for ICL since. I also sometimes write for their annual guides.

Question: How long have you been writing?

I've been writing since about 1991. I was married and worked days while my husband worked nights. I had been interested in writing for a while when I decided to take a continuing education class with Patricia McKissack. My timing was excellent because this was the last time she taught the course and she is definitely the one who got me started. I've been writing ever since.

Question: What was/is one thing difficult for you in writing? How did/do you overcome/solve this problem?

Only one thing? Just kidding. I LOVE writing for children. It allows me to explore a wide variety of topics that interest me. But since I am a full time writer, I have a really hard time working in "my" writing. I get busy meeting deadlines for ICL, Children's Writer's and Illustrator's Market and my various contracts. Finding time to do my own work, the things I don't have contracts for but that allow me to pursue all those nifty topics, can be really difficult. Fortunately the ladies in my critique group hold me accountable. Like Stephanie Bearce, I'm in the Gordian Knot group and knowing that I have to have something to show to them on a regular basis makes me find time for the fun stuff. Besides, I get such good feedback from them! Why wouldn't I want that?

Question: Tell us about some of your published works for children.

My first regular gig was writing for a now out-of-business magazine called Young Equestrian. The editor was active in SCBWI and asked those of us she knew to query her newly acquired magazine. I've loved horses since I was a kid but never been fortunate enough to ride regularly -- my big claim to fame being that I can tell the front end from the back end. But this was an editor who wanted work NOW. I took home several copies of the magazine and noticed that she occasionally published breed profiles, pieces detailing the history of a particular breed of horses. Over several years, I wrote a variety of these as well as profiles of riders, how-tos and even a side bar on manure!

But my absolute first sale was a rebus that I wrote after reading a how-to article. "The Flying Contest," a piece about kite flying, appeared in Ladybug. It was the first rebus I wrote and the only one I've managed to sell.

Question: What’s your current work in progress?

I'm getting ready to do a shrunken manuscript analysis of a picture book that is all but ready to go out. Called Princess in the Garden, although the title may change, it is an original folktale with an environmental theme. I'm also rewriting a piece for Carolyn Yoder of Highlights and getting ready to rewrite a chapter book about a little boy looking for the perfect pet. Hint: He does not get or even want a dog. But I probably won't be able to spend much time on these (why is my critique group glaring at me?) until I finish editing the first issue of 21st Century Family.

Question: Recently you became the editor for a new magazine, 21^st Century Family. Please tell us about that project.

This is another example of being in the right place at the right time. And being just a little bit out-spoken.

In a post on my blog (suebe.wordpress.com), I discussed virtual magazines vs e-zines and gave Simply Fishing as an example of a virtual magazine. Someone commented that the publisher was getting ready to start a family/parenting magazine and was looking for writers. I didn't want the publisher to be swamped with inappropriate content so I phoned the office. They had discussed the possibility of such a magazine but knew they didn't have connections to the appropriate writing community. When asked about my own background, I was happy to fill them in and hung up having agreed to consider taking an editorial position.

I am now managing editor of 21st Century Family, a virtual magazine. This means that instead of being delivered to your inbox or simply being a web site, readers will have the experience of turning pages. In terms of content, we are a family magazine serving parents of infants through grandparents of teens because families take a wide variety of forms. I encourage people who are interested in writing for us to check out the guidelines which I've posted on my blog.

I am currently editing the content for the first issue and will let everyone know as soon as possible when we have a regular production schedule. And I now totally understand when an editor says, "I'll know it when I see it." Some of the best articles for the first issue were pitched by people I had never met, even on-line. They pitched pieces I don't have the background to have developed myself or even to have realized that was a possibility. I'm learning to love surprises.

Question: What are some tips you’d like to share with our readers?

Pay attention to guidelines -- when an editor asks for 2000 words, that is what they want.

Join a critique group. They will not only help you shape your writing, they will keep you going when your confidence flags.

You don't have to write every day, but you do have to write regularly. That's what will make you a writer.

Don't forget to read and read what is coming out now. You need to know what is being published today.

When someone asks if you can do something -- write, edit, critique -- don't be afraid to stretch yourself. You may be in for a great surprise.

For more on Sue Bradford Edwards check out her website http://www.suebradfordedwards.com and blogs.
One Writer's Journey (blog): http://suebe.wordpress.com
What We're Reading (blog): http://suebe2.wordpress.com

Thanks, Sue, for talking with us.

Sue

lisaalbert

You are invited to Nonfiction Book Blast: Booktalks for Reluctant Readers

Sunday, July 12, 2009

Convention Center Room W181
10:30 am to 12:00 pm
ALA Annual Conference, Chicago
wiki at http://nfbookblast.pbworks.com/

Track: Children & Young Adults; Literature & Collection Development

Despite the emphasis on fiction for leisure reading in schools, many
reluctant readers are often more drawn to reading nonfiction. Expand
your nonfiction repertoire as 17 authors booktalk their latest work.

Panelists include award-winning and acclaimed authors April Pulley
Sayre (Vulture View), Kelly Halls (Albino Animals), and Carla
McClafferty (Something Out of Nothing: Marie Curie and Radium), as
well as many additional prolific or brand new authors. Their
booktalks, plus new ones crafted by audience members, will be yours to
take back home to excite your students about reading nonfiction.

Moderator: Sharon Mitchell, Library Media Specialist

Speakers

Lisa Rondinelli Albert, Stephenie Meyer: Author of the Twilight Saga (Enslow Publishers, May 2009), So You Want to Be a Film or TV Actor (Enslow Publishers, 2008)

Mary Bowman-Kruhm, The Leakeys: A Biography (Prometheus Books, 2009)

Laura Crawford, In Arctic Waters (Sylvan Dell Publishing), The Pilgrims’ Thanksgiving From A to Z (Pelican Publishing), Postcards From Chicago (Raven Tree Press)

Jeri Chase Ferris, With Open Hands: The Story of Biddy Mason (Lerner), Arctic Explorer: Matthew Henson (Lerner)

Amy S. Hansen, Bugs and Bugsicles: Insects in the Winter (Boyds Mills Press, 2010), Touch the Earth (NASA and NFB, 2009)

Gwendolyn Hooks, Makers and Takers (Rourke Publishing, 2008)

Katherine L. House, Lighthouses for Kids:History, Science, and Lore with 21 Activities (Chicago Review Press, 2008)

Patricia K. Kummer, The Great Barrier Reef (Marshall Cavendish Benchmark, 2009), The Great Lakes (Marshall Cavendish Benchmark, 2009), North Korea and South Korea (two books) (Scholastic/Children's Press, 2008)

Suzanne Lieurance, The Triangle Shirtwaist Fire and Sweatshop Reform in American History (Enslow Publishers, Inc.)

JoAnn Early Macken, Flip, Float, Fly: Seeds on the Move (Holiday House, 2008)

Carla Killough McClafferty, In Defiance of Hitler: The Secret Mission of Varian Fry (Farrar, Straus and Giroux, 2008)

Kelly Milner-Halls, Dinosaur Parade (Lark/Sterling Publishers, 2008), Saving the Baghdad Zoo (HarperCollins/Greenwillow, 2009), Tales of the Cryptids (Darby Creek Publishing, 2006)

Wendie Old, The Halloween Book of Facts and Fun (Albert Whitman), The Groundhog Day Book of Facts and Fun (Albert Whitman)

April Pulley Sayre, Honk, Honk, Goose: Canada Geese Start a Family (Henry Holt, 2009)

Anastasia Suen, Wired (Charlesbridge, 2007), The U.S. Supreme Court (Picture Window Books)

Christine Taylor-Butler, SACRED MOUNTAIN: Everest (Lee and Low Books, 2009)

Rebecca Hogue Wojahn and Donald Wojahn, Follow That Food Chain (Lerner, 2009)

I hope to see you there!

Lisa Rondinelli Albert

www.lisaalbert.com

susanuhlig

QUESTION:

I wrote my first two books while on a two-year hiatus from teaching Title 1 reading in Austin, TX. After those two came out, I didn’t write any more books for children for years, simply because, by that time, I was a professor of reading/ language arts at the U of Wyoming and it’s a publish or perish institution  I had to write for academe. But I never stopped wanting to write for children and I retired early so I could get back to doing so.

QUESTION:       What got you writing historical fiction?

 I love local history and historical research. I’ve been an avid genealogist for many years and my master’s thesis was historical. I guess it was inevitable that I would draw on that background.  Those first two books were picture books. The second was based on stories my mother told me and, since they reflected rural life in the first part of the 20^th century, they were considered “historical.” I’ve written several contemporary novels but I evidently don’t do those as well since they’ve never been published.

QUESTION:       I understand your books are published by Eakin Press. What made you choose an independent publisher?

My first two books were published out of NY – Parents Magazine Press and Lothrop, Lee & Sheperd. Selma Lanes and Dorothy Briley, respectively, were my editors. By the time I began writing again, Lanes was retired. Dorothy had become editor-in-chief of Clarion and was eager for me to send her manuscripts. But she died suddenly and I was an “orphan” in New York. About the same time, the Harry Potter books turned children’s publishing upside down and the marketing of historical fiction became quite difficult.  Eakin Press made a presentation at the Ozark Writers League and they were looking for historical books about Texas. I had a completed manuscript called “Gone to Texas: From Virginia to Adventure.” My pitch was successful so I went with them in order to get a foot in the door after such a long time between the first two books and the third one. I liked what they did and sent them “Exiled!” This one received the WILLA award last fall from Women Writing the West. I may now use this recognition to attempt a move back to the national level, but I’m not sure. I like having easy access to the editor and being consulted on the cover. We’ll see.

QUESTION:       Can you tell us a bit about how you do your research for historical fiction?

It varies with each book, but I tend to use a concentric circles approach. I consult all the local sources first, then the particular state’s archives and collections, then email the Library of Congress. To the extent that original sources are available on the Internet, I use those as well. The Internet works particularly well for sudden needs that come up during the writing. At some point, I always travel to the various settings.  The setting for the first part of “Exiled!” was East Tennessee. I went there, spent a week, found the perfect place for Ruthy’s farm setting and returned via the old roads, most of which were in place in 1837. (I got an 1837 map from the LOC. They had road maps back then. Who knew?) I kept a blog while writing “Exiled!” and it details my research steps for that particular book. Interested readers can find it via a link on my web site: www.louiseajackson.net. They may also be interested in my daily blog titled “Living a Writer’s Life” [www.news-leader.com/blogs/louisejackson]

 QUESTION:       You’ve lived in Texas, Wyoming and now Missouri.  What brought you to Missouri and how long have you lived there?

About 30 years ago, Don & I needed a tax write-off and decided to invest in land in the Ozarks since Don’s research indicated it was going to grow as a retirement area. We thought it might also be a place in which we could retire someday as well. It was a day’s drive from our Texas relatives, had hills, trees, streams and rocks like our Central Texas home places, and was within 50 miles of a university library. (University libraries are my security blanket. What if I needed one and it wasn’t near at hand? Of course, we made this decision before the advent of the World Wide Web.) We ended up loving the area. We lived on that original country acreage for the first 7 years, then moved into Springfield 8 years ago.

QUESTION:       What’s your current work in progress?

I’m working on a book about a boy living in a post-Civil War Orphans’ Home. The first four chapters have been enthusiastically received by both an agent and a New York based editor. I don’t have a title yet. I’m not good at titles. Right now, it’s just “the orphan novel.”

QUESTION:       Do you have a writing tip to share with our readers?

Read, read, read – both novels and books/websites about writing. Write, write, write. And be prepared to be in it for the long haul.

susanuhlig

I met Stephanie Bearce in 2004 when I attended a writers’ retreat in Columbia, MO.  I “re-met” her last fall at a conference and later learned she won an SCBWI grant for a novel.  Then I found out about her nonfiction books coming out, and wanted to know more.  Here are the questions I emailed Stephanie, and her answers.

1.       I see you have 6 nonfiction books coming out this year (4 in June and 2 this fall).  Can you tell us about the projects?

I am working on a contract basis for Mitchell Lane Publishers.  It has been a lot of fun because I have been able to write on a variety of science topics.  I’ve written about taking care of guinea pigs, how to build container gardens, and how a hybrid car works.  I love research and I have a science background so I find the work very interesting.

2.       In 2008 you won a work in progress grant for your book, Maddie’s Miracle.  What has happened since then?

When I entered Maddie’s Miracle it truly was a work in progress and was not finished.  Since that time I have finished a first draft and I am now working on revisions.  I’m hoping to get a solid second draft finished by the end of the summer.  Rewriting takes just as long as the initial draft, but it’s so important.

3.       How long have you been writing?

I have had what might be called a “spotty” writing career.  I actually studied journalism in college, but ended up with a science degree.  I then went on to teach science for many years and did not do much writing.  But in 2000 I published my first two books: And God Created Science – Space, And God Created Science – Weather.   Unfortunately, soon after those books were published, my husband became very ill with cancer and died.  I spent the next several years learning how to be a single working mom.  It has only been in the last three years that I have been able to devote significant time to writing once again.

4.       What made you want to be a writer?

I loved to read.  I was the kid that literally had a flashlight under the covers.  I read everything there was in my tiny hometown library.  Then every week my mother would drive me all the way to the county library so I could get new books.  I am still a voracious reader.  Reading has made me want to write.

5.       What was one thing that was hard for you to learn about the craft of writing?  How did you overcome/solve the problem?

I am horrible at grammar and I am still trying to solve the problem.  The best help for all of my writing problems is a wonderful critique group.  Every good group has people with a specialty.  One person will be terrific at plot, and another will be wonderful at character development.  I am especially grateful for the grammar gurus. Who knew that gerunds and infinitives were actually important?

6.       I understand you live in St. Charles, Missouri.  Have you always lived there?

No, I grew up in Kansas.  I lived on a farm near Council Grove and got my undergraduate degree from Kansas State University.  My family still lives in Kansas and I visit there often.  I even used Kansas for my setting for Maddie’s Miracle, and I recently sold a non-fiction story to Spider Magazine about Kansan, Samuel Peppard.  My heart belongs to Kansas!

7.       What’s your current work in progress?

I always work on multiple projects.  I usually have one fiction and one non-fiction project going at the same time.  When I get tired of facts, I can make up my own world.  Right now I am putting the finishing touches on a mid-grade mystery, The Guinea Pig Curse.  I am also working on a biography of aviation pioneer, Glenn Curtiss.

8.       What’s one thing you would like to tell someone starting out in this business?

Join SCBWI.  I know I’m “preaching to the choir.” But my involvement in SCBWI has led me to the best critique group in the world.  (Hooray for the Ladies of the Gordian Knot!)  It has provided me with classes, retreats, and introduced me to editors who have been interested in my work.  I don’t think I would have been published without the help of the wonderful people of SCBWI.

cynthiareeg

I just discovered a fast way to find book examples geared to a specific type of reader.

Say you want to target 5^th grade boys who are below grade level on reading. And these boys like to read fantasy stories.

Visit Lexile’s Find a Book site. Enter the pertinent info and a within seconds a long list of appropriate titles will appear below your eyes.

You can use this information to see what titles or angles on a subject have already been written.

Or you can use the generated list to read examples of stories you are interested in writing--How much of the story is dialog? How involved can the plot be? What about sentence structure and vocabulary?

Lexile’s Find a Book is a quick research tool for children’s authors.

TIP 2:

Picture book author and illustrator (and sometimes instructor at Highlights Foundation courses),  Dominic Catalano, advises PB writers to think visually.

Plan your story in scenes—as though you were watching a movie. Scene 1 is on page 1 of the story; Scene 2 on pages 2/3. These first two scenes set the stage for the rest of the story.

Taking into account end pages and the title page and all, a PB has a total of 32 pages. So that means you’ll have at least 13 additional scenes (more if’ the illustrator doesn’t do a double-page spread for each scene.)

Dominic advises using these remainder scenes to build tension through possible shifts in POV, location changes, and escalating action. 

I’ll bet changing POV isn’t one of the usual elements writers consider in a PB story. I know I’m going to study this tip in some of my own stories as well as some of my favorite PB’s. Any good examples of this technique that come to mind?