Arthur A. Levine Workshop: Strong Emotions on the Page (Day 4)

The big finale.

Another dramatic start: Arthur has apprently had too much coffee and diet Coke. We still don't know if the missing assignments have been recovered. Perhaps it will all come to an exciting conclusion.

Last night's assignment was to take the same snapshots we used for our first piece of writing, and now use them to create a new piece with a different emotion than was conveyed the first time.

More good, concrete ideas from Arthur as we share our writing:

• It's important to know who the scene is important to;
• Watch for stock phrases like, squeal of delight and an exhausted sigh. What does it really sound like?
• When the words are generic, it can make the reader lose interest. When words are specific, it will make the reader sit up and take notice;
• Make sure the words you choose are the ones your character would use;
• When you get nostalgic you must push back to that time to make the writing stronger;
• The emotion informs how you're telling the story.

It's been a class so good, no one wants to leave.

(As for the exciting conclusion of The Case of the Missing Homework, it was found in the Lost and Found.)

Arthur A. Levine Master Class - Day One
Arthur A. Levine Master Class - Day Two
Arthur A. Levine Master Class - Day Three

Arthur A. Levine Workshop: Strong Emotions on the Page (Day 3)

Class began on a dramatic note: The box for completed assignments was somehow emptied out and put to use in the joke contest. (Oh, the cruel irony. The joke box, people! The joke box!) If anyone knows where these assignments went, please hand them to an SCBWI staffer.

We are discussing our written assignments--turning our sensory snapshots into 350-word pieces that convey a particular emotion. Each writer is reading his or her work aloud, and Arthur is identifying the emotion the language and imagery convey.

He's giving us good, concrete advice:

• Give us images that cut past sentiment (fresh, vivid ones);
• Keep the tone consistent;
• Make sure the language you choose supports the emotional target you're aiming for; and
• Observe things precisely to identify exactly the words you want to use.

Oh, and in case you were wondering...having Arthur discuss your writing is as scary and exhilarating as you might imagine. There are many sweaty palms in the room today.

Arthur A. Levine Workshop: Strong Emotion on the Page (DAY 2)

Strong Emotions on the Page is a four day master class.

Read about Day One HERE.

So far, no singing or disco (no matter what mbrockenbrough tweeted), but we're right back to finsihing up Step 2 that we started yesterday. New sights, smells, tastes, sounds, and sensations.

In addition to learnings from yesterday, the images that stay with us have much to do with the choice of words. Also, this particular group seems to have issues with sweaty thighs, birthday spankings, and smoking parents.

Arthur Levine now promises fun, followed by the word, HOMEWORK.

Step Three: Take the your snapshots (written in step one) and create a written piece, not be more than 350 words.

Will you being doing homework with us tonight? Before or after the "Heart and Soul" poolside gala?

Arthur A. Levine Workshop: Strong Emotions on the Page

Arthur A. Levine is a Vice President at Scholastic Inc. and the Publisher of Arthur A. Levine Books. He is also an author with a picture book coming out coming out next spring (MONDAY IS ONE DAY). What's more, he has a new blog, which can follow here.

Oh, Arthur! Is there anything you can't do?

(Don't be jealous, friends, but Arthur did sing a little David Cassidy for us. He has perfect pitch and a very nice sort of disco-ish "hallelujah" move, which is why I snagged the classic photo of Arthur with his David Cassidy hairdo/optional Marlboro Man 'stache. See below.)

Anyhoo.

The class focuses on how writers can put emotions on the page. Our blog posts and tweets over the next few days will recap class highlights, and will offer up some of the assignments so you can follow along. The David Cassidy soundtrack is recommended, but ultimately optional.

Our first assignment: to think of a place to which we have a strong emotional attachment. It doesn't matter if it's a positive or negative attachment. Now, with this place in mind, write down five snapshots. Images full of sensual detail. Visualize the place. Hear the sounds. Smell the smells.

Got it?

Good. Now we're on Step 2. Each of us reads three favorite snapshots. After this, we write down the three we most remember from the eighty-one read aloud. (What, you think we writers can't do math? Zing!)

For Step 3, we talked a bit about why the memorable ones stuck with us:

• they had emotional associations from childhood; 
• they were vivid; 
• they carried emotional weight (in one example, parents' faces were described as bearing bad news); 
• they were direct; 
• they contained memorable words; 
• they conveyed emotional complexity; and
• they were sensory images.

SCBWI Master Class

A clip of the SCBWI Master Class with Richard Peck is being shown as conference goers filter into the ball room, on this, our last day of the conference.




Master Class DVDs can be ordered soon through the SCBWI MARKETPLACE. There are two: Richard Peck and Tomie dePaola, two men who could be listened to all day long. But, if you are lucky enough to be here, you can pick them up in the bookstore.

POSTED BY JOLIE STEKLY

SCBWI Master Class DVD Now Available Online

During my live conference posting I mentioned the debut of the SCBWI Master Class DVDs. As I said in my earlier posts, conference goers got to see seven minutes of each Master Class video--one with Tomie dePaola, one with Richard Peck. These men truly are masters of their crafts--and they ain't bad on camera either. They were fascinating and delightful to watch and certainly have a lot of wisdom to share.

Now the DVDs are available on the SCBWI website. (They're only $14.95 each, which, if you ask me, is a bargain for an hour plus with these Masters.)

On the Master Class Videos

You should all buy these! The seven-minute snippets we saw of each of them were engaging and fascinating. And they are each over an hour. I could listen to Tomie and Richard talk all day long.

Premiere of SCBWI Master Class: Richard Peck

The second SCBWI master class On Writing the Novel for Young Readers is with Richard Peck. Linda Sue Park is introducing his master class. He's written close to 50 titles, won a number of awards including the Newbery. She's reading first lines from some of his books (A Long Way From Chicago, A Teacher's Funeral, Fair Weather).

He covers plot, character, setting, language dialog, why he believes in writing in first perons and why he believe all great writers are first readers. Plus he reads aloud from a brand new novel.

And now we watch...

Premiere of SCBWI Master Class: Tomie dePaola

Lin Oliver is introducing the first two master classes now available on DVD. The first class is with Tomie dePaola On Creating the Picture Book.

Robert Sabuda is introducing Tomie's master class. (Note to self: Tomie and Robert collaborated on a pop-up book. Remember to look for it.) Tomie is the illustrator he most admired when he began his interest in working on picture books.

Now we watch...

SCBWI Master Class

Lin is talking about the new SCBWI series, Master Class, their new video offerings, one featuring Tomie dePaola and one featuring Richard Peck. They're available on DVD and we'll get a sneak peek later at the conference.