I was happy to catch Jim Carroll between sessions, and he told me about how being part of SCBWI helped him get "The Boy And The Moon," his debut picture book as an author and illustrator, published:
Thanks, Jim!
Namaste,
Lee
Your SCBWI 2026 Virtual Summer Conference "TEAM BLOG" is Jolie Stekly, Justin Campbell, and Jaime Temairik. Check in here and on socials at #scbwiSummer26 for updates, countdowns, and LIVE BLOGGING from the conference!
Friday, January 28, 2011
The Writers Intensive - An Inside Look, part three - The Afternoon Critique
My afternoon critique table was led by Mary Kole, of the Andrea Brown Literary Agency. Mary has an amazing blog on writing, kidlit.com, and approached the critique more as a "workshop."
writer #1 shared a contemporary YA, and Mary started us off with leading our discussion of her pages in two parts, first what was working, and then focusing on where there was opportunity for growth. (Isn't that a great way to put "constructive criticism?") Throughout, Mary shared great tips, like aiming to be more specific with our character details!
writer #2 shared a young MG, and the discussion bloomed as we realized that both writers had started with the main character in school... but then quickly flashed back to somewhere else. It led to a great conversation about where to start a story.
writer #3 shared his MG pages, and the table unanimously praised the character's great voice. Mary helped us all see that what that story needed was to be grounded in the present action of the plot starting - and the writer had that realization of what he had to do next.
writer #4 shared a MG historical, based on a true story, and explained that she was feeling limited by what actually happened versus what would make a better fiction book. Mary's advice was to "have it be your story - the spirit but not the letter" Or, my take on it, inspired by.
writer #5 shared the first 500 words of her YA, and we all realized she had also started her main character in a school setting, when maybe there was a better place and way to start her story.
writer #6 shared her YA novel pages, and told us that she'd shared the prologue to her book this morning, and had decided to not share it with Mary and us - and just jump to chapter one and share that. So she read us 500 words from chapter one, and then in the discussion we discussed prologues (Mary's not a big fan of them.)
I was writer #7, and again I shared the first 500 words of my MG. I was honored with kind words about my writing and the manuscript's voice, and in the ensuing discussion I was able to ask Mary and the table's opinions about their take on the opening paragraphs, as compared to this morning's critique group. That was cool - having 15 fresh pairs of eyes on my first pages!
Mary liked how one of the authors had brought in more of the senses, laughing that sight was the most common sense described, with sound and touch afterwards, and taste and smell sharing last place. She urged us to avail ourselves of more of those senses.
We had some extra time due to an empty writer slot (I feel bad for the author who due to the snowy weather wasn't able to make it!) and Mary opened the table up to a 12 minute Q&A, where we talked about publishing across age categories, how children's literature is unique in that it's about characters immediately going through things as they happen (rather than being older and flashing back on their teen years), and Mary's best recommendation for a book on revision: Writing The Breakout Novel by Donald Maass.
When Aaron called our time being up, the room applauded their agents and editors, but no table as enthusiastically as ours.
The Debrief:
One writer shared that starting with positive feedback first really worked for her. And that having everyone's ideas bounce off other people was so useful.
Another felt that Mary was so great and professional, that the format was informal and yet gave her so much. "She's so polite, but she tells you as it is."
We heard "She killed my prologue and it's not coming back to life... but maybe it will be my epilogue!" (When I checked with Mary later about epilogues versus prologues and whether she was a fan of the former, she said, "they serve different purposes. One is just lazy beginning writing, the other is lazy end writing. Um... Okay, maybe not an epilogue!)
Mary was praised for being sincere and for making it feel collaborative. "Everyone's opinion has some value, and that was acknowledged."
And perhaps most encouraging, about Mary's feedback on their writing,
And for myself, I really enjoyed learning from Mary's critiques and watching her masterful command of these 12 minute critique workshops!
Ultimately, about the whole experience of participating in the Writers Intensive, I love what Lin Oliver said this morning,
Because even if your manuscript IS the gold that an editor or agent discovers today, there will be more revisions to come, because that's the journey - to make our books as good as they can be, and then get them out into the world.
It's a journey. And the writing intensive is an amazing turbo-boost of insight to move our writer journeys forward!
I feel very fortunate to have taken part in the writers intensive today and want to thank my two critique groups and, of course, Michelle Poploff and Mary Kole!
Being brave enough to share your pages is laudable - everyone here was showing their dedication towards furthering their career and becoming a better writer, and that's something to celebrate!
Namaste,
Lee
writer #1 shared a contemporary YA, and Mary started us off with leading our discussion of her pages in two parts, first what was working, and then focusing on where there was opportunity for growth. (Isn't that a great way to put "constructive criticism?") Throughout, Mary shared great tips, like aiming to be more specific with our character details!
writer #2 shared a young MG, and the discussion bloomed as we realized that both writers had started with the main character in school... but then quickly flashed back to somewhere else. It led to a great conversation about where to start a story.
writer #3 shared his MG pages, and the table unanimously praised the character's great voice. Mary helped us all see that what that story needed was to be grounded in the present action of the plot starting - and the writer had that realization of what he had to do next.
writer #4 shared a MG historical, based on a true story, and explained that she was feeling limited by what actually happened versus what would make a better fiction book. Mary's advice was to "have it be your story - the spirit but not the letter" Or, my take on it, inspired by.
writer #5 shared the first 500 words of her YA, and we all realized she had also started her main character in a school setting, when maybe there was a better place and way to start her story.
writer #6 shared her YA novel pages, and told us that she'd shared the prologue to her book this morning, and had decided to not share it with Mary and us - and just jump to chapter one and share that. So she read us 500 words from chapter one, and then in the discussion we discussed prologues (Mary's not a big fan of them.)
I was writer #7, and again I shared the first 500 words of my MG. I was honored with kind words about my writing and the manuscript's voice, and in the ensuing discussion I was able to ask Mary and the table's opinions about their take on the opening paragraphs, as compared to this morning's critique group. That was cool - having 15 fresh pairs of eyes on my first pages!
Mary liked how one of the authors had brought in more of the senses, laughing that sight was the most common sense described, with sound and touch afterwards, and taste and smell sharing last place. She urged us to avail ourselves of more of those senses.
We had some extra time due to an empty writer slot (I feel bad for the author who due to the snowy weather wasn't able to make it!) and Mary opened the table up to a 12 minute Q&A, where we talked about publishing across age categories, how children's literature is unique in that it's about characters immediately going through things as they happen (rather than being older and flashing back on their teen years), and Mary's best recommendation for a book on revision: Writing The Breakout Novel by Donald Maass.
When Aaron called our time being up, the room applauded their agents and editors, but no table as enthusiastically as ours.
The Debrief:
One writer shared that starting with positive feedback first really worked for her. And that having everyone's ideas bounce off other people was so useful.
Another felt that Mary was so great and professional, that the format was informal and yet gave her so much. "She's so polite, but she tells you as it is."
We heard "She killed my prologue and it's not coming back to life... but maybe it will be my epilogue!" (When I checked with Mary later about epilogues versus prologues and whether she was a fan of the former, she said, "they serve different purposes. One is just lazy beginning writing, the other is lazy end writing. Um... Okay, maybe not an epilogue!)
Mary was praised for being sincere and for making it feel collaborative. "Everyone's opinion has some value, and that was acknowledged."
And perhaps most encouraging, about Mary's feedback on their writing,
"I feel like if I do what she told me my book will be better."
And for myself, I really enjoyed learning from Mary's critiques and watching her masterful command of these 12 minute critique workshops!
Ultimately, about the whole experience of participating in the Writers Intensive, I love what Lin Oliver said this morning,
"What you're doing here is part of the process of publication. It's not about Yes, No, Good, Bad. It's about the feedback on the work you have yet to do..."
Because even if your manuscript IS the gold that an editor or agent discovers today, there will be more revisions to come, because that's the journey - to make our books as good as they can be, and then get them out into the world.
It's a journey. And the writing intensive is an amazing turbo-boost of insight to move our writer journeys forward!
I feel very fortunate to have taken part in the writers intensive today and want to thank my two critique groups and, of course, Michelle Poploff and Mary Kole!
Being brave enough to share your pages is laudable - everyone here was showing their dedication towards furthering their career and becoming a better writer, and that's something to celebrate!
Namaste,
Lee
Illustrators Intensive: Licensing Panel
Only a handful of the attending illustrators have had their artwork licensed, but 99% would like to know how to make that happen. You might remember Suzanne Cruise from when she spoke on licensing a few years ago. But Penny Sikalis is a new-to-SCBWI presenter from Surtex with a really fabulous offer for all the illustrators at today's panel. FREE BADGE to the Gift Fair happening this weekend at Javits Center,—thanks, Penny!First, Penny went over the absolute basics of art licensing:
- Art Licensing = Legal permission given to a manufacturer to produce and sell products using your art for a fee
- Artist = Licensor
- Manufacturer = Licensee
- Take classes
- Visit trade shows
- Look at types of products and companies that sell these products and start a list
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| from http://cococakecupcakes.blogspot.com/2009/03/hungry-caterpillar-cupcake-party-train.html |
If you can draw a character, you can license your art.
Your goal as an artist is to license the same piece of art to different manufacturers of different types of products so that you can get paid multiple times for that one piece. Something you can't do with one piece of bubble gum, one kitten*, or one copy of nuclear weapons blueprints.
Seventy-five percent of the Surtex show (SURface Trade EXpo) is devoted to art licensing.
Links: http://www.artlicensinginfo.com, LinkedIn art licensing group, and surtex.com's monthly e-newsletter called On the Surface for more tips on getting started in art licensing.
*You might be able to license a kitten, I really don't know.
Writers Intensive Panel--The Process of Revision: Challenges & Rewards
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| l to r: Aaron Hartler, Nancy Conescu, Rachel Griffiths, Michelle Poploff |
SCBWI's own Aaron Hartzler moderates a panel of editors offering post-critiqe advice. Here are some highlights.
Nancy Consescu (Dial): Revision is a process. Post critique, you have to consider the various comments, decide how to address things, and try different things until you get to what works. She asks her authors to start with making big changes that will resonate through the manuscript. She suggests really looking at your chapter endings and be sure you're giving readers a reason to turn the page. Also really look at the dialogue specific to each character to be sure what they say rings true to each character. She stresses, as you work with an editor, that there's a period of digesting the suggestion that must take place.
Rachel Griffiths (Scholastic): She hopes that a manuscript has been revised maybe ten times by the time it gets to her. She suggest that writers pay attention to what you're feeling as you read it--does your mind wander, is something is confusing? If you're ever stuck on a revision, you just work on it, go over things over and over again, and it eventually it can turn into something magical. She reads through and looks for one flash of greatness in a mediocre manuscript, and suggests her authors revise the rest of the pages to get to that level. She hopes that's authors take about 50% of her revision suggestions and that they don't work with the suggestions that don't feel true to them. She stresses the importance of working on your craft because that's what makes you get better and better and grow as a writer.
Michelle Poploff (Delacorte): (Note: She was the editor for this year's Newbery winner MOON OVER MANIFEST by Clare Vanderpool, the first debut author to win the award in 30 years. Also note: She's found four authors at SCBWI conference over the past few years.) The revision process between writer and editor varies depending on authors preferences and working style. She always tells authors to read out loud and she's a big fan of writers groups, saying that if you belong to a writing group, they can be very helpful advocates. She also suggests writers let things percoloate for a while as you revise. Revision is like redecorating, and sometimes you rearrange all the furniture in the room, and still there's still a lamp that's in the wrong place. She wants authors she works with to take their time to do the very very best they can on revising.
The Writers Intensive - An Inside Look, part two - The Morning Critique
The editor at my morning table is Michelle Poploff, Vice President, Executive Editor at Delacorte Press Books for Young Readers, an imprint of Random House Children's Books. She's edited a number of Newbery honor-winning books, including "Hattie Big Sky" by Kirby Larson, "You'll Like It Here, Everybody Does" by Ruth White and the just announced winner of this year's Newbery Award, "Moon Over Manifest" by Claire Vanderpool!
Aaron tells us it's 12 minutes for each of us.
Ready? Set? Go!!!
Our Critique Session:
writer #1 at the table shared a YA historical, and when Michelle asked for what her elevator pitch for the story would be, she struggled to come up with the words to describe her book, but ultimately did. We were all rooting for her.
writer #2 hadn't brought her manuscript to share, and wanted to pass, saying she was happy to just be here and learn from everyone else. We urged her to take her turn at the end, and then she could at least talk about her book. She didn't seem sure about that, but we went on.
writer #3 was myself. I shared the first 500 words of my MG, and many of my fellow writers said kind things. There was a discussion about their not being sure where the book was going, and again Michelle asked me to pitch it, thinking that perhaps the manuscript was all about my main character's Bar Mitzvah - which left her wondering what made it special. That was very thought-provoking, and makes me want to look again at my opening paragraph.
writer #4 shared a MG historical, and again had to share with us where the story was going. Michelle shared the tip that if you write a particular genre, check out the other books in that same genre currently being published, and look in the acknowledgements to find out which editors are loving that time period. (She, for instance, is a big fan of historical books encompassing the American South.)
writer #5 shared a YA contemporary. She was also asked to quick pitch it, and what we discovered from her pitch was that the main character (who she said the story was about) wasn't really featured in her opening two pages. That's something she sounded like she wanted to address in a re-write.
writer #6 shared an upper MG contemporary, and got lots of compliments (from Michelle and the table at large) about her very nice opening and writing in general. At this point, we were all eager to hear her pitch because it contextualized the first 500 words and gave us a sense of the whole story and where it was going.
writer #7 shared a picture book manuscript, and discovered that her story started about 300 words in! She was excited to work on it again, revising it to reveal the gem that it can be. Also Michelle shared with us the thought that from a parent's perspective, picture books are an expensive investment, and to buy one it has to be a story they and their kid are going to want to read again and again. She challenged all of us to consider what was the sense of "specialness" about our books.
writer #8 shared an historical MG, and there was a mistake in her printing, so we only had the first page and the third (with a single paragraph on it) so we were missing the second page on all our copies. She bravely apologized and forged on with her reading, and got a lot of praise from Michelle et al., about her very nice beginning and her skill at conveying time and place. And props for handling it so professionally.
We came back to writer #2 and, emboldened to claim her twelve minutes by Michelle's kind encouragement, she gave us her pitch for her MG historical. She made it rich and layered and interesting, and as her book had a regional interest, it lead to Michelle's advice about not discounting regional publishers in the search for publication. We were all delighted she seized the opportunity to get feedback on her pitch and the concept of her manuscript.
The session ended and our table thanked Michelle with a round of applause, which became a wave of applause as Aaron Hartzler asked all the agents and editors to stand to be thanked and acknowledged for sharing their expertise with us.
It was time for our table's de-brief!
Among our group was one author who had been previously published, and when I asked what the experience was like for her, she said that she "gained a lot." She was impressed with the ability around the table and thought Michelle's critiques were "on the money." When I pointed out that so many of the writers attending were here hoping to be published and she already was, she wisely said, "I feel personally I always have to work on my craft."
One writer wished there had been more time for a further in-depth critique of her writing, yet still felt it had been a really positive experience.
Another admitted that she had been more nervous than she had thought she would be.
One very shy writer admitted that at first she was horrified when she realized she'd have to read her work out loud to 8 other people in a room of 250, but she ultimately liked the experience and thought it worked well.
Another felt that her objective hadn't been to "wow" Michelle but rather to get objective feedback on what to do to make her work better. "I got a different perspective so now I can go back and revise."
Someone even mentioned they wished they'd brought their laptop so they could go to their room and revise their pages during our lunch break!
And me? While my work didn't seem to be the "gold" that Michelle might have been looking for, that's okay. I got some good feedback and some points to think about, and I enjoyed learning from the critique of everyone else's work as well.
Stay tuned for a report from the afternoon session!
Namaste,
Lee
Aaron tells us it's 12 minutes for each of us.
Ready? Set? Go!!!
Our Critique Session:
writer #1 at the table shared a YA historical, and when Michelle asked for what her elevator pitch for the story would be, she struggled to come up with the words to describe her book, but ultimately did. We were all rooting for her.
writer #2 hadn't brought her manuscript to share, and wanted to pass, saying she was happy to just be here and learn from everyone else. We urged her to take her turn at the end, and then she could at least talk about her book. She didn't seem sure about that, but we went on.
writer #3 was myself. I shared the first 500 words of my MG, and many of my fellow writers said kind things. There was a discussion about their not being sure where the book was going, and again Michelle asked me to pitch it, thinking that perhaps the manuscript was all about my main character's Bar Mitzvah - which left her wondering what made it special. That was very thought-provoking, and makes me want to look again at my opening paragraph.
writer #4 shared a MG historical, and again had to share with us where the story was going. Michelle shared the tip that if you write a particular genre, check out the other books in that same genre currently being published, and look in the acknowledgements to find out which editors are loving that time period. (She, for instance, is a big fan of historical books encompassing the American South.)
writer #5 shared a YA contemporary. She was also asked to quick pitch it, and what we discovered from her pitch was that the main character (who she said the story was about) wasn't really featured in her opening two pages. That's something she sounded like she wanted to address in a re-write.
writer #6 shared an upper MG contemporary, and got lots of compliments (from Michelle and the table at large) about her very nice opening and writing in general. At this point, we were all eager to hear her pitch because it contextualized the first 500 words and gave us a sense of the whole story and where it was going.
writer #7 shared a picture book manuscript, and discovered that her story started about 300 words in! She was excited to work on it again, revising it to reveal the gem that it can be. Also Michelle shared with us the thought that from a parent's perspective, picture books are an expensive investment, and to buy one it has to be a story they and their kid are going to want to read again and again. She challenged all of us to consider what was the sense of "specialness" about our books.
writer #8 shared an historical MG, and there was a mistake in her printing, so we only had the first page and the third (with a single paragraph on it) so we were missing the second page on all our copies. She bravely apologized and forged on with her reading, and got a lot of praise from Michelle et al., about her very nice beginning and her skill at conveying time and place. And props for handling it so professionally.
We came back to writer #2 and, emboldened to claim her twelve minutes by Michelle's kind encouragement, she gave us her pitch for her MG historical. She made it rich and layered and interesting, and as her book had a regional interest, it lead to Michelle's advice about not discounting regional publishers in the search for publication. We were all delighted she seized the opportunity to get feedback on her pitch and the concept of her manuscript.
The session ended and our table thanked Michelle with a round of applause, which became a wave of applause as Aaron Hartzler asked all the agents and editors to stand to be thanked and acknowledged for sharing their expertise with us.
It was time for our table's de-brief!
Among our group was one author who had been previously published, and when I asked what the experience was like for her, she said that she "gained a lot." She was impressed with the ability around the table and thought Michelle's critiques were "on the money." When I pointed out that so many of the writers attending were here hoping to be published and she already was, she wisely said, "I feel personally I always have to work on my craft."
One writer wished there had been more time for a further in-depth critique of her writing, yet still felt it had been a really positive experience.
Another admitted that she had been more nervous than she had thought she would be.
One very shy writer admitted that at first she was horrified when she realized she'd have to read her work out loud to 8 other people in a room of 250, but she ultimately liked the experience and thought it worked well.
Another felt that her objective hadn't been to "wow" Michelle but rather to get objective feedback on what to do to make her work better. "I got a different perspective so now I can go back and revise."
Someone even mentioned they wished they'd brought their laptop so they could go to their room and revise their pages during our lunch break!
And me? While my work didn't seem to be the "gold" that Michelle might have been looking for, that's okay. I got some good feedback and some points to think about, and I enjoyed learning from the critique of everyone else's work as well.
Stay tuned for a report from the afternoon session!
Namaste,
Lee
The Writers Intensive - An Inside Look, part one - the set up
Okay, the room is anxious.
My fellow authors at my table are anxious.
Yes, of course, all the writers here are hoping to be "discovered," and the room perked up noticeably when Liz Szabla, Editor in Chief of Feiwel and Friends (Macmillan) said of the intensive "This is a place where I have found gold." And she told us that she was working on second books with two authors she'd found right here!
90% of the room raised their hands when Lin Oliver asked if they felt they had brought work that was ready to be published. She said she would re-visit the question this afternoon after the two critique sessions, and predictions are... that number will drop.
No one wants to think that their work isn't ready. (And that's an important distinction - not that YOU as an individual aren't ready, it's about YOUR WRITING.)
But no one at my table wants to think their work isn't ready. (And it's hard to separate out your own ego from being having your work critiqued!)
But get this: Julie Strauss-Gabel, Publisher, Dutton Children's Books, when speaking on the sharing of our work with the editors and agents at our tables, said,
Today is not just about whether we like it or don't like it, it's really "to see what's there to help you build on."
And I think that's really key.
And the last thought echoing in my head as we launched into the first critique session was this great advice from Julie Strauss-Gable, "the value of the experience today is not just when it's your turn" - meaning that there's a lot to learn from being engaged and listening to the critiques of the other writers' works - what the editor or agent at the table has to say to them, what you can learn from those other manuscripts' highs and lows.
And we're ready to go...
Stay Tuned for my post on the morning critique session!
Namaste,
Lee
What is it like to be in one of the Friday Intensives?
A note to all those not attending this year's conference: I am sorry, we wish you were here.
Maybe you would like some sensory details of this morning's intensives?
SEE: It might be hard to tell from the photo, but the ballrooms are decorated in Shabby Chic Bug Cocoon. Or like we are in a really fashionable beehive. Or nostril. I think we made all these jokes last year.
HEAR: Another conference going on here concurrently that does a lot of applauding and singing of the national anthem.
TOUCH: SCREEN! Lots of App talk for the Illustrators Intensive.
SMELL: This morning there was delicious free coffee, fresh bagels and loads of shmears. But then there was also this plate of onions.
TASTE: Unless you ate the onions and can only taste old onion, most everyone else is tasting POSSIBILITY! Which tastes like a cross between cotton candy and Four Loko.
No, really, feedback on your manuscripts in the Writers Intensive and groovy insights into app-making, licensing and beyond the book topics for illustrators is making for a truly invigorating Friday that we wish you were here for, too.
Maybe you would like some sensory details of this morning's intensives?
SEE: It might be hard to tell from the photo, but the ballrooms are decorated in Shabby Chic Bug Cocoon. Or like we are in a really fashionable beehive. Or nostril. I think we made all these jokes last year.
HEAR: Another conference going on here concurrently that does a lot of applauding and singing of the national anthem.
TOUCH: SCREEN! Lots of App talk for the Illustrators Intensive.
SMELL: This morning there was delicious free coffee, fresh bagels and loads of shmears. But then there was also this plate of onions.
TASTE: Unless you ate the onions and can only taste old onion, most everyone else is tasting POSSIBILITY! Which tastes like a cross between cotton candy and Four Loko.
No, really, feedback on your manuscripts in the Writers Intensive and groovy insights into app-making, licensing and beyond the book topics for illustrators is making for a truly invigorating Friday that we wish you were here for, too.
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Writers Share About Their Intensive Morning
As the Writers Intensive attendees returned back refreshed from lunch, I grabbed a few to see how their morning session went. Here's what they had to say:
"Nancy Conescu was absolutely fabulous and really inspired everyone at our table." -Alison Formento
"I learned so much from listening to everybody's manuscript and hearing what Rachel Griffiths had to say about every manuscript. Well worth it."-a shy attendee
"I really enjoyed hearing the different genres, styles, and age ranges." -Sean Walsh
"Bonnie Bader shared a great suggestion that instead of using exposition use dialogue organically to show who the character is. That applied to everyone at the table." -Suzannah Gilman
"There wasn't a wasted second. Everyone at the table gave sharp, smart criticism." -Lauren Monahan
"Nancy Conescu was absolutely fabulous and really inspired everyone at our table." -Alison Formento
"I learned so much from listening to everybody's manuscript and hearing what Rachel Griffiths had to say about every manuscript. Well worth it."-a shy attendee
"I really enjoyed hearing the different genres, styles, and age ranges." -Sean Walsh
"Bonnie Bader shared a great suggestion that instead of using exposition use dialogue organically to show who the character is. That applied to everyone at the table." -Suzannah Gilman
"There wasn't a wasted second. Everyone at the table gave sharp, smart criticism." -Lauren Monahan
Illustrators Intensive: Keynote with The Yaccarinster
Dan shares examples of how he's taken his book art beyond books and gives hints on how illustrators can make that happen in their own careers.
For most things—plush toys, games, stationery—those beyond-the-book items are really only an option after a book has come out, sold well, and art licenses are picked up by different manufacturers or the publisher.
Dan says consider making your own promotional items, like at cafe press, to get the ball rolling.
We know Dan has awesome cartoons, but how do you get started in that? You attend the animation equivalent of an SCBWI conference, KidScreen Summit.
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| from Good Night, Mr. Night |
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| from Every Friday |
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| from the forthcoming All the Way to America |
Illustrators Intensive: Welcome from Cecilia Yung
Our morning started off with a welcome from Cecilia Yung, SCBWI Board Member and AD and VP at Penguin. This year's intensive is a different format and focus from previous years. BEYOND BOOKS: Picture Books and the New Media. There are no hands-on art workshops or art director round tables today, but lots of exciting discussions concerning art licensing and apps with plenty of time for questions from the audience.
Cecilia prepped us for the tone of the day:
She urged us to imagine completely new concepts, completely new artwork that will take advantage of all the new formats available today.
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| One of Cecilia's books for Putnam, written and illustrated by SCBWI member Jesse Joshua Watson |
Cecilia prepped us for the tone of the day:
Viable ideas with always thrive, survive and multiply in different forms and formats. We are not here to argue digital vs. print, we are here to talk about picture books and the visual opportunities presented by all these forms.
She urged us to imagine completely new concepts, completely new artwork that will take advantage of all the new formats available today.
Writers Intensive
The SCBWI Writers Intensive is underway and the room is now halfway through the morning session.
Over 200 writers and 26 agents and editors fill the ballroom with the intense excitement only the this event can bring about.
Let the reading and critiquing begin.
Panel: Listening to Feedback with an Open Mind
Welcome to SCBWI TEAM BLOG coverage of the 2011 Annual Winter Conference. Check in often throughout the weekends as we offer live coverage of the conference as it happens.
Today offers a Writers' Intensive and an Illustrators' Intensive.
Before the Writers' Intensive critiquing kicks off, an agent and two editors are offering advice about handling a critique situation.
Edward Necarsulmer (McIntosh and Otis): Do your best to listen, but also understand that I'm just one guy. There are plenty of books out there that I've passed on that have become bestsellers. (He's found 3-5 novels through SCBWI events.) He gets that the idea of criticism in general can be hard to hear, but it's about turning off the defensiveness, and understand the critique for what it's worth.
Julie Strauss-Gabel (Dutton Children’s Books): The thing that surprises her most is when she asks, "What is this about." She find writers often don't really know what they're writing about--her assessment is very out of line with what the writer thinks she's putting on the page. Critiques are about being open--it's part of your professional process. There's nothing personal about it. At least stop to think about why you are hearing a particular critique or why certain questions were asked. If you're in a ccritique group, remember that they only work if they include honest discussion.
Liz Szabla (Feiwel and Friends): I find gold here. (She's currently working with two writers who she discovered at the SCBWI Winter Conference.) Remember that editors are thinking about your work in terms of the market. Go into a bookstore and really look at what the market is right now. She finds that a lot of writers are really surprised when she talks about market--but market is important. Critiquing with editors and agents, is a way to get another sort of compass as to where you are with your writing.
Today offers a Writers' Intensive and an Illustrators' Intensive.
Before the Writers' Intensive critiquing kicks off, an agent and two editors are offering advice about handling a critique situation.
Edward Necarsulmer (McIntosh and Otis): Do your best to listen, but also understand that I'm just one guy. There are plenty of books out there that I've passed on that have become bestsellers. (He's found 3-5 novels through SCBWI events.) He gets that the idea of criticism in general can be hard to hear, but it's about turning off the defensiveness, and understand the critique for what it's worth.
Julie Strauss-Gabel (Dutton Children’s Books): The thing that surprises her most is when she asks, "What is this about." She find writers often don't really know what they're writing about--her assessment is very out of line with what the writer thinks she's putting on the page. Critiques are about being open--it's part of your professional process. There's nothing personal about it. At least stop to think about why you are hearing a particular critique or why certain questions were asked. If you're in a ccritique group, remember that they only work if they include honest discussion.
Liz Szabla (Feiwel and Friends): I find gold here. (She's currently working with two writers who she discovered at the SCBWI Winter Conference.) Remember that editors are thinking about your work in terms of the market. Go into a bookstore and really look at what the market is right now. She finds that a lot of writers are really surprised when she talks about market--but market is important. Critiquing with editors and agents, is a way to get another sort of compass as to where you are with your writing.
Tuesday, January 18, 2011
SCBWI TEAM BLOG Pre-Conference Interview: Publisher Jennifer Besser
Ten days until conference time! The latest SCBWI TEAM BLOG interview with Annual Winter Conference faculty was posted today by Lee Wind on his blog I'm Here. I'm Queer. What the Hell Do I Read? Lee interviewed Putnam Publisher Jennifer Besser. Jennifer will offer breakout sessions on "What Makes Your Work Publishable: Today's Market in Children's Books" concurrent with a number of other editors, agents and art directors.
Jennifer Besser is the Publisher of G.P. Putnam’s Sons, an imprint of the Penguin Young Readers Group. Prior to joining Putnam in April 2010, Jennifer was an Executive Editor at Disney Hyperion, and before that, she got her start in publishing at Miramax Books. And her very first job was at age 11, selling popsicles on Venice Beach. She much prefers her current gig.
Jennifer manages a stellar team of editors and also edits children’s books for all ages, from picture books to young adult fiction. She is the editor of Rick Riordan’s #1 New York Times best-selling Percy Jackson and the Olympians series, as well as the Red Pyramid.
You can still register for the event--it starts January 28th--and get a chance to see Jennifer Besser and a host of other publishing professionals in person.
Click here to access the registration page. Hope to see you there!
SCBWI TEAM BLOG Pre-Conference Interview: Advice on Critiques From Editors & Agents
Yesterday Alice Pope offered another in our series of SCBWI TEAM BLOG pre-conference interivews with Annual Winter Conference faculty. Alice talked to a handful of editors and agents on receiving and giving manuscript feedback.
Below is a bit from her post. Click here to read the full interview.
SCBWI's Annual Winter Conference in New York is just eleven days away! If you're attending, you may be planning your outfits and your evening activities in the city (which you certainly should), but you should also be thinking about how to make the most of the event. So I checked in with a few of the editors and agents participating in the conference to ask for some advice to pass on to you.
Today's topic: CRITIQUES
Editors Krista Marino (Delacorte), Franceso Sedita (Penguin) and Jennifer Rees (Scholastic) and agents Kerry Sparks (Levine/Greenberg) and Kary Kole (Andrea Brown) are participating in the Writers' Intensive that kicks off the weekend of conferencing. At this day-long event, writers have the opportunity to get feedback on a manuscript from a several editors and agents, and writers offer feedback to one another.
Intensives have limited space for writers and this year's Writers' Intensive (as usual) sold out super fast. But even if you aren't attending it, you probably have been or will be in a critique situation, whether at a conference with an editor or agent, one-on-one with a critique partner, or in a critique group setting. Here are some things to keep in mind offered by our group of industry insiders.
Although the Writers' Intensive is sold you, you can still register for the Annual Winter Conference and rub elbows with industry insiders like the ones above. Click here for information.
Tuesday, January 11, 2011
SCBWI TEAM BLOG Pre-Conference Interview: Award Wining Author Lois Lowry
Blogger Lee Wind (whose birthday is today--Happy Birthday Lee!) posted the latest SCBWI TEAM BLOG interview with Annual Winter Conference faculty. Lee spoke with award-winning author Lois Lowry, who will be delivering the keynote speech to open the conference.
Below is a bit from Lee's interview with Lois. Click here to read the full interview on Lee's blog, I'm Here. I'm Queer. What the Hell Do I Read?
One of the super-exciting things about the upcoming SCBWI Winter Conference in New York City, January 28-30, 2011 is that Lois Lowry will be speaking there. (And YES, you can still register!)
Born in Hawaii, Lois Lowry has lived all over the world and now divides her time between Cambridge, Massachusetts and a 1768 farmhouse in Maine. Her list of fiction includes 36 books for young people. Twice the recipient of the Newbery Medal - in 1990 and 1994 (for the Middle Grade novels "Number The Stars" and "The Giver")
Lois has received countless other honors for her work. In recent years she has traveled extensively, speaking to children in Spain, Germany, Belgium, Luxembourg, Indonesia, Japan, New Zealand, and Australia about the importance of literature and imagination in their lives. She is a mother and grandmother and has worked as a photojournalist as well as a writer of fiction. She even has a blog!
As Lee mentioned above, you can still register for the event--it starts January 28th--and get a chance to see Lois Lowry in person, as well as the terrific faculty of industry insiders amassed for the event.
Click here to access the registration page. Hope to see you there!
SCBWI TEAM BLOG Pre-Conference Interview: Author-Illustrator Mo Willems
SCBWI TEAM BLOG continues our pre-Annual Winter Conference coverage with TEAM BLOGger Lee Wind's interview with faculty member Mo Willems, posted a few days ago on Lee's blog, I'm Here, I'm Queer. What the Hell Do I Read.
Below is a snippet from Lee's interview with Mo, who will no doubt have us rolling in the aisles. Click here to read the full interview.
Mo Willems’ work in children’s books, animation, television, theater, and bubble gum card painting has garnered him 3 Caldecott Honors, 2 Geisel Medals, 2 Carnegie Medals, 6 Emmys, and multiple bubble gum cards. Upcoming non-bubble gum card projects include Hooray for Amanda and Her Alligator, a portrait of the relationship between a girl and her stuffed alligator told in 6-1/2 stories. More information about Mo’s past, present, and future can be gleamed at www.mowillems.com. Mo will be part of an incredible panel on Sunday January 30th, "Look Who's Laughing: How To Do Funny For Young Readers and Why" that's sure to have us all cracking up... and thinking!
It's not to late to register for the event and enjoy the panel on humor featuring Mo Willems in person, as well as the rest of the great lineup.
But the days are dwindling--the festivities begin on January 28th--click here to visit the conference registration page.
But the days are dwindling--the festivities begin on January 28th--click here to visit the conference registration page.
And whether you attend or not, visit the Official SCBWI Conference Blog for live coverage of the event. Bookmark or follow today!
SCBWI TEAM BLOG Pre-Conference Interview: ADs Lucy Ruth Cummins & Denise Cronin
Over the holidays, SCBWI TEAM BLOGger Jaime Temairik posted interview with two fabulous Art Directors in her blog CocoaStomp.
First Jaime talked to Lucy Ruth Cummins, Associate Art Director at Simon & Schuster. Below is a bit from her interview. Click here to read the full post.
Jaime: Okay, help is on the way. In the meantime, I'm having my people send Justin [Chanda] a bunch of emails so he'll be distracted and hopefully you'll be able to answer a few more questions. Illustrators will definitely want to know if you are currently acquiring?
Lucy: We are always acquiring new talent. I'm always keeping my eyes peeled. Even if I can't place someone on a project immediately (and it is true that some parts of publisher's lists are shrinking!) I'll often keep them on hand waiting for the right project. An example of this is the debut book from illustrator Jon Klassen, CATS' NIGHT OUT by Caroline Stutson - Jon just received the Governor General's Award for this project, and I had had his work on hand for several years before I was able to pair him with the perfect project. Although we may not always be able to immediately put the rubber to the road with new folks, good artwork makes a strong impression and the quest for a winning collaboration is always on my mind.As for what I'm looking for - there's never anything specific. I love such a range of things, but I'm mainly looking for things I'm touched by. I love cute. I love simple. But I also love creepy and detailed! There's no one thing I'm looking for and I'm always happy to be surprised.
Next Jaime talked with Denise Cronin, Vice President in the Penguin Young Readers Group and the Art Director for Viking Children’s Books. There's a snippet below. Click here to read the full post.
Jaime: Denise, did you know not only are you an Art Director, you're a flipping Vice President? What is your average day like?
Denise: If you count time spent on the train, checking files and reading manuscripts, my day is about 9 hours. We are usually juggling about 60 books at various points of development. I work very closely with the editors and the designers in my department from start to finish. Making books is very collaborative. Rarely do I work alone.
Be sure to check out both the interviews for insights from these terrific art directors and to see if they had the same answers to Kill, kiss or marry: Helvetica, Baskerville or Comic Sans? If you attend the conference, you can meet each of them during their breakout workshops. And--attention illustrators--there's still space in the Illustrators' Intensive, Beyond Books: Picture Books and the New Media.
And remember, whether you join us in New York or not, SCBWI TEAM BLOG will offer full coverage of the conference and intensives, live blogging throughout. Bookmark or follow the Official SCBIW Conference Blog today!
Friday, December 10, 2010
SCBWI TEAM BLOG Pre-Conference Interview: Agent Jim McCarthy
Here's a bit from Suzanne's interview with Jim.
In a Team Blog pre-conference exclusive, I'm chatting with fabulous agent (who also happens to be my agent) Jim McCarthy. Jim is vice president at Dystel & Goderich Literary Management and he will be speaking at the SCBWI Annual Winter Conference in NYC being held January 28th-30th. Check out the lineup HERE.
Jim, thanks so much for taking the time to answer my questions. To start, I was wondering if you could tell us what your talk at the conference will focus on?
This one’s easy! I’m doing the same break-out session three times, and it’s What Makes Your Work Publishable: Today’s Market in Children’s Books. I was asked to present on what our agency accepts, what my taste is, what makes something stand out as something I want to represent, how I perceive the marketplace now, and where I see it going.
Click here to read the full interview with Jim McCarthy.
And click here for Annual Winter Conference registration where you can attend insightful What Makes Your Work Publishable sessions with Jim, other agents, editors, and art directors!
Thursday, December 9, 2010
SCBWI TEAM BLOG Pre-conference Interview: Linda Sue Park
The latest in our series of SCBWI TEAM BLOG interviews with Annual Winter Conference faculty is courtesy of Jolie Stekly who blogs at Cuppa Jolie. She interviewed Newbery Award-winning author Linda Sue Park.
Here's a bit from the interview with Linda Sue, which Jolie likened to a short writer's therapy session:
I've had the immense pleasure of hearing Linda Sue Park speak at a couple of SCBWI conferences. Not only that, but I've also had the opportunity to sit and talk with her, and let me tell you, the words that come out of her mouth are so great, so helpful, so smart that you won't want to dare miss them when she's gives her keynote presentation at the upcoming SCBWI Winter Conference.
Linda Sue Park is the award-winning author of many books for children, including A SINGLE SHARD which won the Newbery Medal in 2002. The list of awards Linda Sue has won is as long as my arm, and sure to keep growing. Linda Sue also serves on the SCBWI Board of Advisors.
Click here to read the full interview with Linda Sue Park.
Click here to register for the SCBWI Annual Winter Conference where you can take in the wisdom of Linda Sue, and the rest of the awesome faculty in person.
Thursday, December 2, 2010
SCBWI TEAM BLOG Pre-conference Interview: Author Sara Zarr
When I found out Sara Zarr was on the faculty for the SCBWI Annual Winter Conference, I called dibs on doing her pre-conference interview right away. (There was a quiet throwdown, but I'm captain of TEAM BLOG so I won.)
There were several reasons I wanted an excuse to talk to Sara. I first met her several years ago at a Kidlitcon and heard her speak from the heart about her first foray into blogging. I immediately liked her and immediately devoured STORY OF A GIRL, her debut novel and a National Book Award Finalist.
Click here to read the full interview with the terrific Sara Zarr.
And click here to register for the SCBWI Annual Winter Conference where you can see Sara and the rest of the great faculty in person!
Tuesday, November 9, 2010
SCBWI TEAM BLOG Pre-conference Interview: Patricia Lee Gauch
The latest Annual Winter Conference faculty member featured in our SCBWI TEAM BLOG pre-conference interview series is Patricia Lee Gauch. Patti talked with TEAM BLOGger Martha Brockenbrough.Here's a bit from the interview:
My SCBWI chapter invited Patricia Lee Gauch to Washington state for a retreat a couple of years ago, and I got to see first-hand what a fine teacher she is: gentle but demanding, and full of information distilled from a phenomenal career in children's literature.
Patti is not only a published author herself (Christina Katerina and the Box, Thunder at Gettysburg, and The Knitting of Elizabeth Amelia), she has edited some of the finest writers in the business: Brian Jacques, T.A. Barron, Andrew Clements, Jane Yolen, Janet Lisle, Katherine Erkskine, and Barbara Joosse.
She's worked with artists Eric Carle, David Small, Ed Young, Loren Long. Three books she edited have won Caldecott Medals: Owl Moon, Lon Po Po, and So You Want to Be President.
Click here to register for the Annual Winter Conference and learn from outstanding faculty like Patricia Lee Gauch!
Wednesday, November 3, 2010
SCBWI TEAM BLOG Pre-conference Interview: Jane Yolen
Martha Brockenbrough offers the first in our series of SCBWI TEAM BLOG pre-conference faculty interviews starting us out with the terrific Jane Yolen!Here's a bit from Martha's interview with Jane (in which, Martha says, "she debuts the new BIC.")
Without the mighty badge of the SCBWI national blog team to hide behind, I'd never have the guts to approach Jane Yolen for an interview.
She's Jane Yolen! Author of more than 300 books! A Caldecott Medalist and Golden Kite winner! Likened unto Hans Christian Anderson! Also, as far as I can tell, she is bionic. There is otherwise no way to explain how she writes so many fabulous books.
You might already know these things about Jane, though.
But did you know that she coined the acronym B.I.C. for "butt in chair"? Did you further know she was the second author ever to join the SCBWI? And that she was the organization's first regional adviser? She founded and for a decade ran the New England region.
Click here to read the full interview with Jane Yolen.
Click here to register for the Annual Winter Conference and see Jane--and a number of other equally wonderful faculty--in person.
Friday, October 8, 2010
Update for Illustrators: NYC Annual Winter Conference Art Showcase
Art Directors talked, and we listened! Art Directors told us that they'd prefer to browse art in a gallery-type format, seeing one piece per illustrator displayed. So we've changed the planned Portfolio Display at the Annual Winter Conference to an Art Showcase.
Here's how it the Art Showcase will work:
- Illustrators need only prepare one piece and business cards or postcards rather than a full portfolio.
- Art Directors and other industry professionals will browse the Friday night art display, picking up cards from the illustrators whose work interests them.
- Literally hundreds of invited Agents, Art Directors, Editors and other publishing professionals will be viewing the art.
- It's just $50 to participate in the Porfolio Showcase, but if you enroll in the Illustrators Intensive it's FREE.
- The display will be juried and two cash prizes will be awarded along with one awesome Grand Prize--an all-expenses paid trip to New York and meeting with art directors!
Be sure to visit SCBWI.org for more information and guidelines and don't miss this terrific opportunity to have your work viewed by the decision makers! There's truly no other event where you can have your work seen by so many agents, editors and art directors!
And click here to register for the Annual Winter Conference.
Thursday, October 7, 2010
SCBWI Winter Conference Registration is Now Open... And Very Popular!
Registration is open for the 2011 SCBWI Winter Conference in New York City and we're thrilled at the great response so far.
It's so, great, however, that, if you're registering, you'll have to wait in line. We've implemented a queue system based on how many users are trying to register.
The Pre-Conference Intensive for Writers usually takes about 5-7 days to fill up. If you’re worried about getting into that event, stay on the registration page and the link will appear when the timer counts down to zero. (Click around online to pass the time. Visit Facebook. Buy some new shoes.) You can also email us at webmaster@scbwi.org.
If you are not registering for the Pre-Conference Intensive for Writers, and can wait a day or two to register, the wait will be much shorter.
We really appreciate both your patience and enthusiasm. We''ll get you taken care of and get you registered!
See you in New York!
It's so, great, however, that, if you're registering, you'll have to wait in line. We've implemented a queue system based on how many users are trying to register.
The Pre-Conference Intensive for Writers usually takes about 5-7 days to fill up. If you’re worried about getting into that event, stay on the registration page and the link will appear when the timer counts down to zero. (Click around online to pass the time. Visit Facebook. Buy some new shoes.) You can also email us at webmaster@scbwi.org.
If you are not registering for the Pre-Conference Intensive for Writers, and can wait a day or two to register, the wait will be much shorter.
We really appreciate both your patience and enthusiasm. We''ll get you taken care of and get you registered!
See you in New York!
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