IN SUPPORT OF THE OVER-50 WRITER, by Hilda Eunice Burgos

From March 1 to March 31, 2018, the Society of Children’s Book Writers and Illustrators (SCBWI) will be accepting submissions for its annual work-in-progress grants.  One of these grants is the Karen and Philip Cushman Late Bloomer Award, which is for authors over the age of fifty who have not been traditionally published in the children’s literature field.  The grant was established by author Karen Cushman and her husband, Philip Cushman, in conjunction with the SCBWI.  One winner will be chosen from the pool of those who have submitted material for the SCBWI Work-In-Progress Grants, and will receive $500 and free tuition to any SCBWI conference.

I am in my fifties, and my first book, the middle grade novel Ana Maria Reyes Does Not Live in a Castle, is scheduled for publication by Lee & Low Books this coming fall.  As an older writer, I was intrigued by this grant, and by Karen Cushman’s story.  She started writing at age 49, has published nine books so far, including a Newbery Award winner and a Newbery Honor Book, and she says she has no plans to stop writing until she’s at least a hundred.  She is an inspiration to those of us who started our writing journey a little later in life, and to those who are still waiting to be published, and she generously took the time to answer my questions about the grant and about writing in general.

No matter your age, and whether or not you decide to apply for one of SCBWI’s grants, I hope Karen Cushman’s words inspire you to keep writing.  After all, it’s never too late to realize your dreams.

Why did you establish this grant?

Karen: I want to encourage older potential writers to “write it down,” to put their thoughts and stories and ideas into words,  Over 50 is not too late to begin a writing journey--I was over 50 when my first book was published.   

What do you look for in a manuscript when judging applications for the award?

Karen: Selfishly, I look for a manuscript that makes me want more, a manuscript with writing and characters and a story that leave me yearning to read the rest of the book.

Are there any common mistakes that you see often in the manuscripts that are submitted?

Karen: The manuscripts that reach me have already been selected by SCBWI so they are quite polished and good.  Sometimes, though, writers tell us interesting things without building them into a story.  Or offer us characters that are unbelievable or unrelatable.  Or talk down to young readers.

In addition to the money and the opportunity to attend an SCBWI conference, what other benefits are there from receiving this award?

Karen: I hope that the the recognition the award brings leaves the writer more confident and committed to her writing.  Appreciation, respect, and encouragement are good motivators and soothing to the spirit.

Would you share a little about your own writing journey?

Karen: I wrote a lot as a child but as I grew up and married and had a child, I wrote nothing.  I still had stories in my head that I shared with my husband but nothing on paper until he challenged me to write it down   So I did, and so I encourage others to do so.

What advice would you give to older writers who are beginning to get discouraged because they haven’t been published yet?

Karen: A lot of writers haven’t been published yet.  The act of writing, of being immersed in a world you are creating on a page, can bring great joy and pride.

If publishing is your goal, keep trying.  Learn how to write a query letter.  Make your manuscript as near perfect as you can.  Get feedback from others.  Submit only to publishers who specify that they’re interested in the type of writing you do.  Pay close attention to what agents or editors say in their rejection letters.  Be kind to yourself and find pleasure in the writing itself.  

What, in your opinion, are the pros and cons to being an older writer?

Karen: Con:  I’d say the largest con is the decline in energy that we older folks often feel.  I can no longer write all day but eventually what I accomplish in chunks of time adds up.

Pro:  Well, in my case, being older has made me wiser, more tolerant, more self aware, and more accepting of imitations.  I hope these are reflected in my writing.  

PITCHING FOR INTROVERTS, by Hilda Eunice Burgos

Last month, the Eastern Pennsylvania chapter of the Society of Children’s Book Writers and Illustrators (EPA SCBWI) hosted Fall Philly Author Day and Pitchfest.  Attendees heard inspirational and informative speeches by six local authors, and also had the opportunity to purchase ten-minute pitch sessions with any of ten acquiring agents.  As an introvert, I was hesitant to sign up for any pitch sessions.  I believe I communicate best in writing, so I told myself that a written query would be preferable.  But I knew, in the back of my mind, that making a personal connection can be very helpful.  So I reluctantly signed up for one pitch session.  A couple weeks later, as I listened to a “networking for introverts” webinar conducted by my college’s alumni group, I realized that some of the tips for networking may also be applied to pitching, and that I had actually used a few of those techniques for the Pitchfest.  Those of you who are also introverts may find the following networking tips (tweaked to apply to pitches) helpful as well. 

1)  Set a realistic goal for yourself.  If making one meaningful connection is all you can handle in one day, then that should be your goal.  Don’t ask too much of yourself, as that can lead to disappointment.  I signed up for just one pitch session, and I felt successful at the end of my session because I had attained my goal.

2)  Research ahead of time so that you know your audience.  Before signing up for my pitch session, I looked up all of the agents’ websites, and selected the one that seemed most interested in my type of writing.  The EPA SCBWI posted interviews with the participating agents on its blog before the Pitchfest.  I read my selected agent’s interview, and saw what she looks for in a pitch.  This was extremely helpful because I was able to craft my pitch to include the information she wanted to hear.  It also decreased my nervousness, as I now had clear and realistic expectations for the pitch session.

3)  Develop your pitch and your personal brand.  Remember that you are looking for an agent who will work well with you and with whom you can work well.  I developed a pitch for my story and also for myself and my work in general.  I wanted the agent to learn about me and my writing style so that we could together make the right choice about whether or not to establish a working relationship.

4)  Listen and reflect what you hear.  Most introverts are good listeners, but when you’re nervous and thinking about what you need to say, you may forget to use that skill effectively.  Although I had done my research and I had a pretty good idea about what this agent was looking for in a pitch, she still surprised me with a few questions I was not expecting.  I made sure to pause, listen to what she had to say, and think carefully before providing my answers.

5)  Be present.  During my pitch session, I focused completely on that ten-minute block of time.  If I had scheduled more than one session, I might have spent the first session worrying about the next pitch, and that would definitely not be good.  Of course, not everyone is like me.  If you can handle more than one pitch session in a day, go for it, but remember to be present for each one.

6)  Follow up.  How you do this depends on the outcome of your pitch session.  In my case, the agent asked me to send her my story, so I emailed the manuscript to her as soon as I got home that day.  She later responded by asking to see more of my work, which I then sent to her (note: when you pitch a picture book, be prepared to share more than one manuscript).  I’m still waiting to hear back (fingers crossed!).

Bottom line:  know yourself, and accept and embrace your introverted personality.  Talking to people is a required part of being a writer, so come up with strategies to network and pitch effectively without making yourself miserable.  Believe me, if I can do it, so can you!

SCBWINY16 Top 10 List by Jim Hill

I had the good fortune to attend the SCBWI Conference in New York City last month. This list is a quickie, shorthand review of my favorite moments.

1. Gary Schmidt's Keynote – He speaks like he writes. Heartfelt, honest, and spare with emotional truths that strike like a punch in the gut. I wish you could've heard it too. It was kind of life-changing. For the next best thing, check out his appearance on the Yarn podcast.

2. Connecting In Person – Conferences are where the internet comes alive. All of those little avatars you chat with on Facebook and Twitter have actual human beings behind them. It's true! And you can meet them in real life! Amazing.

With @StrictlyHeather @heyjimhill @HUnderdown @MoveBooks pic.twitter.com/WKwA4Q5toD

— Debbie Ohi (@debbieohi) February 13, 2016

3. Cheryl Klein's Revision Session – If you've read Second Sight or listen to the Narrative Breakdown podcast, you know of Cheryl's insightfulness. This workshop was exactly what I needed as I was in the middle of revisions on my novel (and maybe, just maybe stumbling through said revisions like a bear drunk on fermented berries). She offered a concrete approach toward revision that I will carry with me forever. Her new book, The Magic Words comes out in September. Read it and become a better writer.

4. Funky Downtown Dining – The food was cheap and delicious. And then there was this.

NYC dinner companion.

A video posted by @heyjimhill on Mar 15, 2016 at 4:45am PDT

5. DIY Writing Intensive – Friday was the intensive day at the conference, and there were many outstanding workshops to be had. Was I registered for any of them? No. Instead, I met classmate Bonnie Pipkin at Grounded for a self-made writing intensive (1.3K words, thank you very much) followed by drinks at the White Horse Tavern to soak up the literary mojo. And book deal celebration. Hers, not mine.

Not the Whitehorse Tavern, but this a better photo than the one I took of my meal there. 

6. VCFA Reunions – Vermont College of Fine Arts has a vibrant community of writers *cough* cult-like *cough* who love to get together at conferences, book launches, and the occasional bar fight (just kidding, Tom Greene). Ann Cardinal, Chief Herder of Cats, knows how to bring us together for casual chat, industry talk, and craft discussions. She's basically a floating cocktail party wearing an "Ask Me About VCFA" pin. Even when there aren't any cocktails to be had.

7. Double Rainbow – Not one, but two interview sessions with Rainbow Rowell! You guys, at one point I was close enough that I could have touched her hair! (To be clear, I didn't because that would be creepy and wrong.) These were both excellent Q&A sessions. Rainbow comes across like you think she would if you've read her books: intelligent, funny, charming, and slyly subversive. If you haven't read her work, do yourself a favor and rectify that mistake. Read her for the dialogue, the graceful character descriptions, and read her for the stories themselves. Not quite like being there in person, but this interview on the aforementioned Narrative Breakdown is worth a listen.

8. Mentoring/Being Mentored – Conferences give you ample opportunities for one of my core beliefs: wherever you are in your publishing journey, you can help someone else with theirs. There will always be someone ahead of you (however you define that), and there will always be people working through things you have experienced. Reach out. Lift up. Repeat.

My thanks to Carrie Firestone for doing her part to lift me up. We share an agent, and Carrie took me under her wing to talk through some of the expectations invloved with the whirlwind-publishing-machine. Her book, The Loose Ends List, drops on June 7th. Look for it; it sounds great.

9. The Publisher's Panel – We often hear that houses have a voice, and this panel did a nice job of embodying that idea. It was fascinating to listen to the publishers talk about the strengths and motivations of their lists. There were two takeaways of note for me. One, the children's arms of the large publishing houses are now given a lot more respect as the financial models point to stability within our market. That opens a lot of opportunities, and clears some of the clouds away from the doom-and-gloom prognostications we hear so often.

The second, a point made by moderator Ruben Pfeffer was a huge relief to my anxious artist brain. He assured us that if a manuscript makes it to an acquisition meeting but gets turned down, it's not because the writing was flawed, it's because the business case for that particular book couldn't be made at the time.

Why is this relief? Well, I can't control business decisions, but I can control the quality of my writing, so this lets me off the hook as an artist. Right? Now, I'm far from an acquisition meeting, but I have my hopes, and I know from my colleagues experiences that not every book gets picked up even when it makes it that far. I'm sure if/when that day comes it will hurt like hell, but at least now I know it won't be because I'm a bad writer. I'm just bad business!

10. Autographs – Maybe I'm a fanboy at heart, but I love the autograph sessions. Sure, the lines are long, but the conversations in those lines can be fun. And you get to have your favorite authors sign books to YOU. Or someone you love. Or maybe a frenemy. You do you. All I know is that I am super excited to have autograph copies of The Game of Love and Death, Last Stop on Market Place, and Whatever-Book-I-Bought-So-William-Joyce-Could-Sign-It-Alas-I-Had-To-Leave-But-Linda-Camacho-Is-Holding-It-For-Me-Right-Linda?

REACHING UP by Joanna Roddy

Photo by Charles Sharp, courtesy of wikimedia commons

You've heard it before: writing is a solitary endeavor. 

Except that it doesn't have to be.

I mean it's true--no one but you can sit in that chair (or walk on that treadmill, if you're Paul) and write all the words. But don't the great story-tellers sit vigil with us when we do? Don't great lines, great moments in treasured stories echo back to us, even as we create something new?

Yet there's something to be said for reaching out to flesh and blood writers who are further along the path. Call it reaching up. 

My first experience of this was when a member of my writing group met a local author and pitch expert and invited her to meet with us. The author did a pitching clinic, shared her writing journey, and offered writerly advice. We paid her for her time and brought yummy snacks, but we definitely got the better end of the deal. We've done this several times now with local authors who've crossed our paths. They've always been thrilled to do it and the experience has always been invaluable.

When I hit a wall with my first novel, I gathered my courage and asked a couple of authors I know (one a friend, the other an acquaintance) if they would be willing to point me toward good resources. Both kindly offered to meet with me and talk things out, and both took time to close read some of my manuscript. I was blown away by their generosity. The perspective they offered both from their own journey as well as the experiences of other authors they knew set me off in new directions that breathed life into my work and my discouraged writer's soul.

I know that these examples sound a little like lucky happenstance, but I think you can cultivate these opportunities. How?

-Keep your eyes open:  Brainstorm the sage wisdom you already have around you. A beloved writing professor from college? A local author? A friend of a friend? What about the worthy organizations in your area, like SCBWI or a local Writer's Association? Not only do many of these groups offer critique circles, they have seasoned writers at the helm who are passionate about bringing writers together! Even Craigslist can have writing group opportunities.

Joy had an article a few weeks ago discussing the power of mentorship and the willingness of this Middle Grade community to support each other. Don't underestimate the power of your online world to connect you to people willing to take a personal interest in your work. Look for places you might be able to submit your query or first page for critique, or reach out to a favorite blogger. 

-Be ready, be brave: The second step is being open to reach out to these people when the opportunity or the need arises. The danger for many of us is to assume that we would be a drain on the other person, so we shut down the idea before we've even asked. We must be brave and mentally open before the chance meeting or the deep dark funk, otherwise we'll hesitate and miss it. 

-Don't act entitled: On the other side of things, we need to be careful not to accost someone for their expertise. Utilize tact and respect for their time. Don't assume, demand, or make the other person feel obligated. A key phrase to use: "Can you point me to a resource who could help me with ___?" (whatever your need may be). This gives them a chance to offer to help you if they can, or to kick the ball down the field a bit, but still get you closer to someone who can help you.

-Be willing to pay: It should go without saying that people like literary agents, book doctors, and professional editors should not be approached for personal input unless you are their client--be willing to pay them or query them through their preferred channels. 

Writing is hard and often lonely, but most successful writers will tell you they had key players who helped them along the way. You won't know who yours are until you're willing to reach out and find them. 

I'd love to know: Have you experienced helpful input from other writers and how? 

What kind of help would you most like to see our community offer? Query/ first page critiques? Mentoring opportunities? Local meet-ups? We'd love your ideas! 

7 Tips about Writing Groups by Joanna Roddy

My beloved writing group, down the pub one Monday night.

About 4 years ago my first novel was halfway complete and had been sitting untouched for a year. My firstborn daughter was 9 months old and I wondered if I would ever go back and finish it. But then something magical happened. I swear it was divine providence or kismet, and it saved my writing.

I found a writing group. Or, I should really say, a writing group found me.

Natalie Goldberg
Photo credit: Mitsue Nagase

Writing guru Natalie Goldberg came to a local writer's conference and I attended her keynote lecture with two aspiring writer friends. Goldberg is a huge advocate of freewriting and she suggested finding people to freewrite with for accountability. We were all three inspired. 

We soon figured out that between the three of us we knew enough writers to start a group. I was a little reluctant to commit with a baby and a new part-time teaching job but thought that I could at least come occasionally.

But from that first night, something happened. Six or seven of us showed up at an all-night diner that served bottomless coffee and pie. We freewrote, we shared aloud, we did another round, and we left inspired by each other and encouraged by our own work. I picked back up my novel and showed up to our group every Monday night. In less than a year I was attending my first writing conference and querying agents alongside two of my group members.

Four years later, our group has changed, but that same creative energy, mutual respect, and accountability is still there. We've supported each other through agent querying, literary contests, and at this point several novels, memoirs, and screenplays. We've also gone on writing retreats together, implemented a book exchange at Christmas, and eaten a whole lot of pie. Sometimes we still freewrite or send something to the group for feedback, but mostly we share the writing life together, buoy hope when discouragement strikes, celebrate good news, and share whatever inspires us.

I recently joined a different formal critique group. We meet every two weeks for 2 hours and the group critiques longer pieces by four out of the six of us on a rotation. I love the way that this keeps me accountable to produce new work with some regularity and receive feedback from multiple perspectives. My original writing group has become my tribe, but it can also be nice to have someone who isn't already in your corner offer their honest response to your writing.

Here are some tips for forming your own writing group:

1. 6 people is a good number, 7 max. You should be able to fit around a table or a living room together and your work should get feedback with some regularity. Agree together on whether the group will be open to new members or closed.

2. Decide what you want and find likeminded people. Critique? Accountability? Group freewriting? Submission buddies? Don’t be afraid to ask for what you need most. You all deserve to get the most from the time you are giving to each other.

3. It’s ok if you don’t all write in the same genre. The variety can be refreshing and teach you a lot about craft. But it's probably important that you really believe in each other's work if you want a group that will last.

4. Make goals for yourself and share them with the group. Sometimes just saying something aloud to another person who’s going to follow up with you is enough to inspire you follow through.

5. Make goals together. Do NaNoWriMo, submit a piece to a literary contest, attend a writing conference, or pitch to agents together. It's the Thelma and Louise approach: holding someone’s hand makes it easier to jump off that cliff.

6. Do stuff outside of your meeting times together. Think about planning retreats, inviting a local author to come talk to your group, and going to writing events like book-signings, lectures, or SCBWI meetings. We've had several authors talk to us about their journey to publication and we even had a pitching expert coach us on pitching and writing conferences. We all contribute some cash to thank our visitor and everyone benefits.

7. You’d probably be surprised by how many writers you know. Start there and ask them if they know any writers they want to invite. Alternatively, local chapters of SCBWI and most regional writing associations have critique groups that you can sign up for.

I haven’t personally had any bad experiences with writing groups, but I can imagine a domineering, competitive, needy, or neglectful member could really derail the group dynamic. I’d be interested to hear from any of you who have had a difficult group experience and what advice you’d give. And what are some positive tips you’ve gleaned from your own writing group experience? I’d love to hear!

Writing Prompts for Getting Unstuck by Joanna Roddy

Photo Credit: Drew Coffman

My last post was about returning to the joy of writing--learning to play on the page and let go of the need for right answers. One of the underlying assumptions there is that you can actually show up at the page and free-write as an act of discovery. 

But I'll be the first to admit, sometimes the blank page is intimidating as heck and you just don't know how to begin. This is the time to pull some trusty tools from your belt in the form of writing prompts. Even a single starting phrase can be so helpful! Here's a roundup of some of my favorite prompts for fiction writing.

Style prompts:

1. Try it from another point of view or tense: This is pretty basic stuff, but if you're inclined to write from third person omniscient past or first person present (there are many others, but I won't go into them here), switching to another POV/ tense can give you tremendous insight into scenes and characters that you didn't have the other way. Even if you don't decide to stick with the new style, the occasional foray into a new point of view can be a wonderful exercise, keeping your writerly skills limber. 

2. Experiment with another narrative voice: Stretch yourself. If you tend to be flowery, channel your inner Hemmingway and write a scene like it's a newspaper article. If you prefer to be concise, think about how to make the writing more lyrical. You might even try writing it as a poem. Try out stream-of-consciousness, satire, humor, and literary voices. You can even use an author's voice you love for inspiration. At the end of the day, your voice is your own, but trying out other styles will make you better able to find the unique sound of your characters, and you might find something that works for you that you never expected. 

Character-based prompts:

1. Rewrite a scene from another character's point of view: This does wonderful things for your character development and might reveal potential plot possibilities as you get in touch with that character's motivation.

2. Try on a character's voice: In a similar vein, write a new scene from a character's POV you haven't tried yet. This is especially nice for a character whose voice you haven't found yet, or who's coming off as one-dimensional. Try it with your villain!

3. Base a character on someone you know. If a character's voice is difficult to hear, try to "listen" to someone whose voice you're already familiar with. Build in those quirks and mannerisms that create a personality. Just make sure it's not an exact replica, lest you commit libel.

Illustration by Agata Kawa from Le Carnet Rouge
This image is on my Pinterest board for my novel's main character.

World-building prompts:

1. Go on a research quest: Set a timer for an hour and go on a wikipedia stumble. If thar be dragons in your story (Yar!), for a broad example, start at the page on dragons. Let your whimsey take you to a link from that page and then another from the next page and so on. Gain inspiration from mythology, history, science, and real-world parallels to your story. Take notes. Bookmark pages. Save images that inspire you along the way (Pinterest is great for this). If you exhaust your first stream of research, start another. When the hour is up, stop and write a short scene, setting, or character sketch from what you've discovered. Make sure you limit your time researching (you could do this sort of thing all day!) and follow it with writing. 

2. Pull a magazine or Pinterest image and write about it: Find something that strikes you, that speaks to your project or a specific character. 

3. Create a detective file: If someone were to come upon your fictional world, what is some of the evidence they would find of your story? Are there letters, emails, books, objects, bills, texts or any other physical evidence you could write down or describe? 

4. Write a letter: In a similar vein, write a letter from your hero to another character in your story. See what you find out about how they see themself, the other character, and their situation.

Photo Credit: deblund.com
One of the cards from Fiction Magic

And here are a few prompts inspired by Deb Lund, who recently spoke to my local chapter of SCBWI and is about to come out with a very cool product, a 54 card deck called Fiction Magic: Card Tricks and Tips for Writers filled with prompt phrases and a guidebook. I'll be the first in line to get one when they come out. And, no, I'm not related to Deb--I don't even know her! I just like to toot horns worth tooting. These mostly fall into the category of plot-development prompts:

1. Take something precious away from your hero: If you're relying on an object, relationship, character trait, or skill to save the day, see what happens when you take that away from your character. See what they have to do to get it back. Don't let them off easy!

2. Give more power to your villain while you hide your hero's strengths: The character and the reader need to feel that the stakes are high and the deck is stacked against them. Write a scene where your villain gets more traction. 

3. Make your hero disappoint someone: Whether they don't come through, break a promise, or shift their loyalty, see what happens when your hero makes a bad decision that hurts someone close to them. What are the relational consequences? What are the implications if that relationship stays broken? How will the hero have to alter course to repair the relationship? What will the plot consequences be because of that?

4. Consider an unlikely pairing: Think about how two opposite or unrelated characters might find their motivations to be mutually beneficial in some way. Bring them together and see what happens. Just think of some of the great examples of this in literature--Legolas and Gimli, Sherlock and Watson, Gollum and Frodo, even Hook and Tinkerbell, to name a few. 

That's a few to get you going. If you try any, I would love to hear how you get on with them. What are some prompts in your tool belt that you have found helpful? 

To MFA or Not to MFA?

I’m on a listserv of writing teachers, and the question recently came up of the value of MFA programs. Though none of us are questioning that people get a good education – and often great networking with publishing professionals – these programs can be expensive. Like $36,000 plus travel expenses for one of the best-known low residency children’s book writing MFA programs.

Obviously, that’s not realistic for everyone, especially if you don’t want to go into debt for your education. And although you occasionally hear about six-figure deals, advances for children’s books are much more likely to be in the $5000-$20,000 range. You’d have to sell several to make back the money you put into the MFA. There’s no guarantee you’ll sell a book just because you have an MFA, and I’ve heard of people getting so burned out and stop writing altogether.

So what if you feel like you need a better education – or the contacts that come with a respected MFA program?

On the list, we discussed other options. Kristi Holl said she interviewed MFA grads about what their program involved and how they learned the most. The three main components:

• Reading an extensive list of current and classic children’s books
• Studying craft books
• Writing and being critiqued

How about doing that on your own? You should be reading extensively anyway.

You can find many lists of “best” books. The American Library Association has many annual awards, including the Newbery (for middle grade books), Caldecott (for picture books), and Prinz (for young adult books). The international reading Association has the Children’s Choice Reading List. The Society of Children’s Book Writers and Illustrators has the Golden Kite Award and the Crystal Kite Award, which is based on a vote by peers. Visit your local bookstore or library, pick up a stack of books, read, and analyze – perhaps with A Copy of “Reading like a Writer“ or this online guide to “How to Read like a Writer.”

The craft books Kristi found most helpful include:

THE ANATOMY OF STORY, by John Truby
WRITING SUBTEXT, by Linda Seger
WRITING FOR EMOTIONAL IMPACT, by Karl Iglesias
WRITING 21ST CENTURY FICTION, by Donald Maass

Other books which are favorites of writing teachers:

THE PLOT WHISPERER, by Martha Alderson

ADVANCED PLOTTING, by yours truly, Chris Eboch

SELF-EDITING FOR FICTION WRITERS, by Renni Browne and Dave King

SCENE & SEQUENCE, by Jack Bickham,

MANUSCRIPT MAKEOVER, by Elizabeth Lyon

The WRITER’S JOURNEY: MYTHICAL STRUCTURE FOR STORYTELLERS & SCREEN WRITERS, Christopher Vogler
THE HERO WITH A THOUSAND FACES by Joseph Campbell

And that’s just a small selection of what’s available. You can also follow blogs on the craft of writing. One of my favorites for craft is Janice Hardy’s The Other Side of the Story. Many of the members of this blog also have individual sites. I’m no longer regularly posting new information, but you can see past posts on topics ranging from developing secondary characters to improving your pacing at my Write like a Pro blog.

And finally, writing and critiquing.

Some people work better with deadlines and penalties for failure. If that’s you, consider starting a group with some other writers where you share your weekly word count and keep each other on task. Or get your family involved by making a schedule and “due dates.” Maybe your kids will like seeing you do your “homework” and start to understand that you need work time!

Getting quality feedback can be a challenge. But even if you live in a remote place, you can try to connect with a critique group online, perhaps through the Children’s Writer’s & Illustrator’s Chat Board, now run through SCBWI.

You may reach a point where your critique group can no longer help you. This often happens when your work is very strong – but not quite strong enough. Then consider hiring a freelance editor. Some of the big-name former editors from the publishing industry now work freelance. Or for lower rates, look for experienced writing teachers. (You can see my rates and recommendations here.)

There are also plenty of online classes, like those offered through the Institute of Children’s Literature, which pair you with experienced teachers at a much lower cost than MFA program.

As Kristi commented, “While this isn’t the same as getting an MFA, you CAN study and practice and do a reading list and get a critique group and create your own home-study pseudo-MFA program—and have no debt when you’re finished.”

But what about the business side of the industry?

The Idiot’s Guide to Children’s Book Publishing, by Harold Underdown, is an excellent overview of the business. It explains the different genres, the difference between a magazine story and a picture book manuscript, how to find a publisher, etc.

There’s a good book by Nancy Sanders called Yes! You Can Learn How To Write Children’s Books, Get Them Published, and Build a Successful Writing Career. She points out that we typically write for three reasons—the emotional satisfaction of getting published, to make money, and for the love of writing. She suggests separating those three goals, so you don’t put pressure on yourself to sell what you are writing for love, and you find more practical ways of approaching the other two goals. She then addresses how to target each goal. This is a great book if you are interested in making writing a career.

You can find lots of other books on writing for children, or writing in general. SCBWI provides members with THE BOOK: The Essential Guide to Publishing for Children, with information on preparing and submitting your work, market surveys, and resources.

And then there’s networking.

This is an important part of being a professional writer. But you don’t need to go to an MFA program to connect. I’ve gotten lots of job leads from list serves. I’ve met editors and agents at writing conferences and retreats, such as those offered all over the country by SCBWI. Personally, I recommend the retreat format, as it’s typically a smaller group and you have more one-on-one time with the speakers. Check out events in your state, or where you have friends and family, to save money. Some people even successfully network by following editor/agent blogs or Twitter feeds.

There’s one final advantage to a degree program: It’s “legitimate” and therefore could be taken more seriously by the family. That might be a reason to set up a “curriculum” on one’s own, with twice a year events, time scheduled for homework, etc. – and to tally up the cost to show how much cheaper it is than a MFA program. That might help you protect your writing time and counter any grumbles about the expense of a few hundred dollar retreat.

I’ve heard great things about writing MFA programs, but if you want some of the benefits with little of the cost, consider creating your own. You might even get your critique group or other writing friends to join in. And then you can hold your own writing retreats! But that’s a topic for another post….

On Critiques and Revision

It's no secret that I adore Darcy Pattison -- author, revision expert, and writer advocate extraordinaire. I met Darcy weeks before signing with my agent and consider her May B.'s fairy godmother. It's because of Darcy I picked up Libba Bray's A GREAT AND TERRIBLE BEAUTY and Kirby Larson's HATTIE BIG SKY. It's because of Darcy I've ordered a copy of ART AND FEAR, a book she shared at her revision retreat that speaks to the insecurities the creative life magnifies.

I'm in the midst of preparing for an SCBWI-NM Schmooze about our annual writing retreat and the critiques that will be a part of the weekend. Once again, I've found myself drawn to what Darcy has to say. Click through to read her wonderful series on feedback and revision.


5 Days on Psychology of Revising
Hope
Fear and Humility, part 1
Fear and Humility, part 2
Gifted and Talented
Perseverance