Showing posts with label writer's intensive. Show all posts
Showing posts with label writer's intensive. Show all posts

Thursday, November 13, 2014

Emma Dryden: The Pre-#NY15SCBWI Interview

Emma Dryden has edited over a thousand books for children and young readers and many of her titles hit bestseller lists in USA Today, the New York Times, Washington Post, and Publishers Weekly. Books published under Emma’s guidance have received numerous awards and medals, including but not limited to, the Newbery Medal, Newbery Honor, and Caldecott Honor.

Check out the great interview with Emma Dryden at Jolie Stekly's blog!

Team Blogger Jolie Stekly chatted with Emma to get the scoop on the World Building Writer's Intensive at the upcoming 2015 SCBWI Winter Conference, Feb 6-8!

It's a great discussion, and I'm more excited than ever to attend...

We hope you join us. You can find out all the intensive and conference information, and register, here.

Illustrate and Write On,
Lee

Tuesday, July 3, 2012

17 Intensives at #LA12SCBWI still have room for YOU!



As of today, there are only 17 intensives on Monday August 6th (directly after the main three-day conference) that still have space available.  These are incredible opportunities that won't be blogged by Team Blog, and are a chance to really dig deep!



AM • - Emma Dryden - Independent and Self Publishing: Best Practices

Designed for Authors and Illustrators who are already independently or self published or considering alternate publishing options for their work, this intensive offers reminders and guidelines to use as to best practicies to use to ensure you're publishing your work as professionally as possible.  It explores ways in which independently or self published authors and illustrators can recreate some of the best principals of traditional publishing (editing, design, marketing, sales); defines author/illustrator and publisher responsibilities; discusses various publishing platform options for picture books and fiction/non-fiction; considers the differences between print, e-, and POD; and explores the benefits and drawbacks of independent publishing.

And Emma's the Expert...

Emma D Dryden, the founder and principal of the children’s book editorial and publishing consulting firm, drydenbks
provides editorial and consultancy support to authors, illustrators,
agents, foreign and domestic publishers, and eBook and app publishers.
Her children’s publishing career began at Viking and Random House,
followed by a position with Margaret K. McElderry Books. After McElderry
retired, Emma became VP, Editorial Director of McElderry Books, and in
2005, VP, Publisher of Atheneum Books for Young Readers and Margaret K.
McElderry Books. Emma has edited over 500 books for children,from board
books and picture books to poetry, novelties, non-fiction, MG, and YA
fiction and fantasy.  As publisher, she oversaw the annual publication
of over one-hundred hardcover and paperback titles. Authors and
illustrators she has edited include Ellen Hopkins, Karma Wilson, Susan
Cooper, Alan Katz, Raul Colon, Lee Bennett Hopkins, David Diaz, and Paul
Zelinsky. Emma is also the leader of the Editorial Quality Panel for
picture eBook platform
uTales and is on the Society of Children's Book Writers & Illustrators Board of Advisors.



AM •- Ellen Hopkins - Building a Career Through Self Promotion 

No matter how you publish, self-promotion is an integral tool for developing broad readership.

And Ellen's the Expert...

Ellen Hopkins
is a poet and the award-winning author of 20 nonfiction books for
children and eight NY Times Bestselling young adult novels-in-verse. Her
first novel for adults, Triangles, published in 2011. In the fall of 2012, her ninth YA novel, Tilt (a companion to Triangles) will publish, along with a crossover novel, Collateral. Ellen lives near Carson City NV with her husband and teenage son, a bottomless well of inspiration for her YA fiction.

 
AM •- Ann Whitford Paul - The C.P.R. — Character, Plot, Rhythm of Picture Books

Apply techniques to revise your manuscript to be the best it can be.

And Ann's the Expert...

Ann Whitford Paul has published many award winning picture books—both fiction and non-fiction—poetry and early readers for children, including Tortuga in Trouble, Word Builder, If Animals Kissed Good Night and recently a book for adults titled WRITING PICTURE BOOKS:  A Hands-on Guide from Story Creation to Publication.   


AM •  Melissa Stewart - Four Steps To A Stronger Nonfiction Manuscript  

After discussing how to focus a nonfiction topic in a way that will interest editors, we will practice a four-step method for transforming a manuscript from okay to outstanding.

And Melissa's the Expert...

Melissa Stewart is
the award-winning author of more than 150 nonfiction books for
children, a member of the SCBWI Board of Advisors, and the PAL
Cordinator for SCBWI's New England region. Her recent picture book Under the Snow
was a Junior Library Guild Selection, a Charlotte Zolotow Award Honor
Book, and a Bank Street College Best Children’s Book of the Year. It was
also nominated for thirteen state book awards.


AM • Sonya Sones - Writing the Verse Novel (Should Your Tomes be Written in Poems?  Crafting the Novel in Verse)

Thinking of writing a novel in verse?  In the middle of writing one already?  This session will be jam-packed with info, tips and secrets about using poetry to tell your stories.

And Sonya's the Expert...

Sonya Sones
has written four YA novels in verse, which have received many honors,
including a Christopher Award, the Myra Cohn Livingston Award for
Poetry, the Claudia Lewis Poetry Award, and a Los Angeles Times Book
Prize nomination. She’ll be the first one to tell you that in 2010 her
novel in verse, What My Mother Doesn’t Know,
made the ALA’s list of the “Top 100 Most Challenged Books of the
Decade.” Sonya’s latest book, the Los Angeles Times bestseller The Hunchback of Neiman Marcus, is her first novel in verse for grownups—a coming of middle-age story about learning to grow old disgracefully. She is this close to finishing her fifth YA novel in verse.


AM • Dan Yaccarino: From Inspiration to Publication: The Essentials of A Picture Book 

This intensive covers the basic mechanics of picture books.  A picture book isn't just drawings depicting text, but images and words uniquely combined to create a story.  Learn the fundamentals, from format and character development through basic storytelling.

And Dan's the Expert...

Dan Yaccarino has written and illustrated over fifty children’s books, most notably, The Fantastic Undersea Life of Jacques Cousteau, Unlovable, Every Friday and Go Go America.
His bold, stylized illustrations add wit and energy to the work of
such prestigious authors as Margaret Wise Brown, Jack Prelutsky, Kevin
Henkes and Patricia MacLachlan in addition to his own stories.
He
is also the creator and producer of his own animated television series
Oswald and the Emmy Award-winning Willa’s Wild Life, as well as the
designer behind Nick Jr's Emmy-winning The Backyardigans.
Dan lives in New York City with his family and vintage toy collection.

 
  
AM • L - A Morning With 8 Agents  

With these powerhouse literary agents:
Josh Adams, Adams Literary;  
Jamie Weiss
Chilton, Andrea Brown Literary Agency;
 
Stefanie Von Borstel, Full Circle Literary;

Jill Corcoran, Herman Agency;  
Natalie M.
Lakosil, Bradford Literary Agency;

Karen Grencik, Red Fox Literary Agency; 
Linda Pratt, Wernick & Pratt Agency;
 
Deborah Warren, East West Literary Agency; 
Ken Wright, Writers House


PM •  Jill Corcoran - How to Write a Query Letter  

Hands-on workshop in which you will walk away with a query letter that will get agents and editors salivating for your work.

And Jill's the Expert... 

Jill Corcoran is an agent with The Herman Agency
representing PB, CB, MG & YA. Her current interests include high
concept Young Adult and Middle Grade Thrillers, Mystery,
Romance, Romantic Comedies, and Adventure manuscripts. With an English
degree from Stanford University and an MBA in Finance and Marketing from
the University of Chicago, Jill has marketed everything from sneakers
to cereal at Leo Burnett Advertising, LA Gear, Mattel, and at her own
consulting company, LAUNCH! New Product Marketing. Clients include Robin
Mellom, Janet Gurtler, Martha Brockenbrough, Kelly Milner Halls, Ralph
Fletcher, & Jen Arena. Jill is also the editor of Dare to Dream-Change the World (Kane Miller, 2012), a poetry anthology which includes Ellen Hopkins, Jane Yolen, J. Patrick Lewis, & Lee Bennett Hopkins.
  


PM • - Eddie Gamarra - Adapting Your Work for Film or Television   

• What kinds of books are best suited for
adaptation? 
• How does the adaptation process work? 
• What’s the author/illustrator’s role in that
process and who else is involved? 
• How to market your book and its adaptation to the entertainment industry
• Some tips on creating truly cinematic stories with words or illustrations 

And Eddie's the Expert...

Eddie Gamarra is a literary manager/producer at The Gotham Group,
which represents screenwriters, directors, animators, authors,
illustrators, publishers, and animation studios.  He specializes in
children’s & family entertainment, including animation, live action
and literature ranging across picture books, novels, anthologies and
graphic novels.  His clients include numerous New York Times
best-selling authors and illustrators as well as Oscar, Emmy, Caldecott,
Newbery, and Geisel award winners and develop and sell projects for all
platforms ranging from online shorts to live action feature films.  In
addition to his work at The Gotham Group, he has consulted for Teen
Magazine, National Geographic's TV series HOLLYWOOD SCIENCE, and
MANswers on Spike.  He has lectured at Vassar, North Carolina School of
the Arts, and University of Arkansas, Little Rock.  He received his BA
in Psychology from Vassar College, a Masters in Cinema Studies from NYU
and a PhD in Psychoanalysis & Film from Emory University.


 PM • - Ellen Hopkins - Creating the Really Truly Real Teen Characters     

The quickest way to turn off a YA audience is to write teen characters who little resemble teens.

And Ellen's the Expert...

Ellen Hopkins
is a poet and the award-winning author of 20 nonfiction books for
children and eight NY Times Bestselling young adult novels-in-verse. Her
first novel for adults, Triangles, published in 2011. In the fall of 2012, her ninth YA novel, Tilt (a companion to Triangles) will publish, along with a crossover novel, Collateral. Ellen lives near Carson City NV with her husband and teenage son, a bottomless well of inspiration for her YA fiction.


 PM • - Ann Whitford Paul - Rhyme Time in Poetry and Picture Books    
  
Editors have a love-hate relationship to rhyme.  Learn how to avoid the pitfalls that make them throw up their arms and plead, "NO RHYME!"

And Ann's the Expert...

Ann Whitford Paul has published many award winning picture books—both fiction and non-fiction—poetry and early readers for children, including Tortuga in Trouble, Word Builder, If Animals Kissed Good Night and recently a book for adults titled WRITING PICTURE BOOKS:  A Hands-on Guide from Story Creation to Publication. 


 PM • - Dan Yaccarino - How To Do Successful School Presentations  

The Fundamentals of how to create a successful live presentation for both children and adults.

And Dan's the Expert...

Dan Yaccarino has written and illustrated over fifty children’s books, most notably, The Fantastic Undersea Life of Jacques Cousteau, Unlovable, Every Friday and Go Go America.
His bold, stylized illustrations add wit and energy to the work of
such prestigious authors as Margaret Wise Brown, Jack Prelutsky, Kevin
Henkes and Patricia MacLachlan in addition to his own stories.
He
is also the creator and producer of his own animated television series
Oswald and the Emmy Award-winning Willa’s Wild Life, as well as the
designer behind Nick Jr's Emmy-winning The Backyardigans.
Dan lives in New York City with his family and vintage toy collection.

  
 
 PM • - An Afternoon with 8 Agents   

With these powerhouse literary agents:








Stefanie Von Borstel, Full Circle Literary; 
 Jamie Weiss Chilton, Andrea Brown Literary
Agency;
 
Natalie M. Lakosil, Bradford Literary
Agency;
 
Karen Grencik, Red Fox Literary
Agency;
 
Julie Kane-Ritsch, Gotham Group;
 
Linda Pratt Wernick, Pratt Agency;

Deborah Warren, East West Literary Agency;
 
Ken Wright, Writers House


 PM • - Bonnie Bader - Leveled Readers   

This hands-on intensive will not only give you a greater understanding of Leveled Readers, but it will also give you effective writing tools to become an author for this growing market.  In class activities to include:  paging out manuscripts, writing art notes, writing your very own reader, and more!

And Bonnie's the Expert...
Bonnie Bader, Editor-in-Chief of Early and Beginning Readers at Grosset & Dunlap is also the head of the U.S. arm of Fredrick Warne, which publishes Beatrix Potter’s Peter Rabbit, Flower Fairies, and Spot.
At Grosset, Bonnie oversees all of Penguin’s leveled readers, which
fall under the imprint, Penguin Young Readers. In addition, she is
starting up an 8x8 picture book program, and a beginning/early chapter
book program which will launch in 2013. She continues to edit and
oversee several series including Hank Zipzer by Henry Winkler and Lin Oliver, Katie Kazoo Switcheroo and George Brown, Class Clown by Nancy Krulik, and Frankly Frannie by Amanda Stern. Upcoming series include Almost Identical by Lin Oliver (Fall 2012) and The Magic Bone by Nancy Krulik (Summer 2013). Bonnie is also a member of the SCBWI Board of Advisors.


 PM • - Ari Lewin - First Pages: An In-depth Analysis of the Very Best Ways To Start A Novel      

A hands-on workshop where we analyze the first pages of successful YA and middle grade novels, then apply what we've learned to YOUR stories.

And Ari's the Expert...

Arianne Lewin is an executive editor at G. P. Putnam’s Sons, a division of Penguin Young Readers Group.
 She edits all kinds of books, with an emphasis on young adult novels
and fantasy. Ari has worked with Mike Rex, Cinda Williams Chima, Rachel
Hawkins, Katie Alender, Marie Lu and Jessica Spotswood.  


 PM • - Jen Rofe - The ”So What” Factor  


When reading manuscripts, Jen Rofé asks herself “So What? Why should I care about these characters and their story?” In this three-hour intensive, we will examine the plots
of successful books to uncover how the author made us care, and we will discuss techniques for developing your own “So What?” factor in your manuscript or work-in-progress. Be warned: Side effects of this intensive include: Torturing yourself with “So what?”; looking for the “So What?” factor in books you read; and writing strong, compelling stories.


And Jen's the Expert...

Jennifer Rofé handles children's fiction projects at Andrea Brown Literary Agency
ranging from picture books to young adult. Middle grade is Jennifer's
soft spot and she's open to all genres in this category, especially the
tender or hilarious. She is always looking for fresh and distinct
voices; stories that simultaneously tug at her heartstrings and make her
laugh out loud; and "adorkable" heroes. As for YA, Jennifer is drawn to
contemporary works; dramatic or funny romance; and urban fantasy/light
sci-fi. She's especially interested in mind-blowingly smart projects
that are layered, complex, and unexpected, and she appreciates big,
developed worlds. In terms of picture books, early readers, and chapter
books, she is interested in character-driven projects and smart,
exceptional writing.
 




The Illustrator Intensive: Writing For Illustrators

Do you have a vivid picture demanding to tell a story? Do you have a lively character struggling to find a voice? Are you ready to be an author-illustrator? 

If you are an illustrator with an original idea and you are looking for the right shape and format, this day-long intensive will help you create a story that is as personal, compelling
and imaginative as your art.  

A full day of talks (check out the schedule here) from successful illustrators, editors, agents, publishers and art directors is followed by a panel review of book proposals to illuminate what it takes to put together a successful proposal for your story and art.  

With these Experts:

Tony DiTerlizzi
is a new York Times bestselling author and illustrator who has been
creating books with Simon and Schuster for over a decade. From his
fanciful picture books like, Jimmy Zangwow’s Out-of-this-World Moon Pie Adventure, G is for One Gzonk! and The Spider & The Fly (a Caldecott Honor book), to chapter books like Kenny and The Dragon and The Search for WondLa, Tony always imbues his stories with a rich imagination. His middle-grade series, The Spiderwick Chronicles
(with Holly Black), has sold millions of copies, been adapted into a
feature film, and has been translated in over thirty countries.

Arthur A. Levine is Vice President and Publisher of his own imprint, Arthur A Levine Books,
which is celebrating its 15th Anniversary at Scholastic Inc. While
Levine has edited and published exceptional books for children of all
ages including Shaun Tan's Lost and Found, Jonah Winter's Just Behave Pablo Picasso! !, Dan Santat’s Sidekicks! and Lisa Yee’s Warp Speed,  he is perhaps most recognized as co-Editor of the Harry Potter series by J.K Rowling. Levine is the author of Monday is One Day , illustrated by Julian Hector, All the Lights in the Night (a Sidney Taylor Honor Books) illustrated by James Ransome, and the forthcoming A Very Beary Tooth Fairy
 illustrated by Sarah Brannen. Arthur takes special pleasure in
launching the careers of authors he’s met through SCBWI including Martha
Brockenbrough (Devine Intervention), Mike Jung (Geeks, Girls and Secret Identities) and many others.





Bryan Collier is the author and illustrator of the Coretta Scott King Award-winning book Uptown. He received Caldecott Honors for the books Martin's Big Words by Doreen Rappaport, which was also a Coretta Scott King Illustrator Honor book; Rosa by Nikki Giovanni, which received the Coretta Scott King Illustrator Award; and, most recently, and Dave the Potter by Laban Carrick Hill. Mr. Collier lives in New York.

Laura Godwin is Vice President and Publisher of Henry Holt Books for Young Readers (a division of Macmillan Children’s Publishing Group),
where she has worked for over twenty years. Jackie Kelly, Eugene
Yelchin, Deborah Heiligman, Eric Carle, Peter McCarty, Dave Milgrim,
Bryan Collier, Denise Fleming and William Low are some of the many
authors with whom she works.  Laura likes nothing better than working
with an author or illustrator at the beginning of his or her career, and
has been thrilled to see five such newcomers go on to become either
Newbery or Caldecott honor recipients. She grew up in Alberta, Canada
and now lives in Manhattan.

Rubin Pfeffer
launched his career as a designer for Macmillan in 1974 after which he
joined Harcourt Brace Jovanovich serving for more than 27 years with
responsibilities spanning from entry level designer to President of the
Trade division.In 2001, Rubin joined Pearson, Inc.as SVP and Chief
Creative Officer of the Pearson Education companies where he coordinated
cross-company product development.  He served as SVP and Publisher for
Simon & Schuster Children’s Books.  Imprints reporting to Rubin
included S&S Books for Young Readers, Atheneum, McElderry Books, and
Aladdin Paperbacks.His imprints achieved the Newbery Medal and Honor
and the Caldecott Hono. In 2008, he launched Beach Lane Books, a
commercial children’s picture book imprint. Rubin joined the
East West Literary Agency
in December, 2009, as a partner and works with talents as David Diaz,
Patricia MacLachlan, Richard Jesse Watson, Susan Cooper, Michael Hague,
Jeff Mack, and a host of other published and new talents. He served as a
judge of NAPPA’s annual round-up of best children’s books for the years
2010 and 2011and has consulted for the digital publisher Ruckus Media
Group where he executive produced Ruckus’ first original story app for
children, A Present for Milo, which quickly became a bestselling children’s app on iTunes.

Jon Klassen, 

Antoinette Portis graduated
from the UCLA School of Fine Arts and then––since being a video
performance artist paid her the nice round sum of nothing
whatsoever––she worked as a graphic designer and advertising art
director. She was a creative director at Disney for many years before
she bolted to do what she had always wanted to do: be left alone in a
room to write and make pictures. Her first book was the best-selling Not A Box, a New York Times Best Illustrated Book and a Theodore Seuss Geisel Honor Book. A Penguin Story was also a New York Times Best
Illustrated Book. She was one of four recipients of the 2010 Sendak
Fellowship. Antoinette lives in Southern California with her husband,
Michael. They have a daughter who is also an artist.

Melissa Sweet
has illustrated many award winning children’s books from board books to
nonfiction and jacket covers.  Her collages and paintings have appeared
in the New York Times, Martha Stewart Living and for eeBoo Toys. She
has written and illustrated Tupelo Rides the Rails, Carmine: A Little More Red,  a New York Times Best Illustrated Children’s Book, 2005  and the 2012 Sibert Medal winner, Balloons Over Broadway :The True Story of the Puppeteer of Macy’s Parade. Melissa illustrated A River of Words: The Story of William Carlos Williams
by Jen Bryant, a 2009 Caldecott Honor book and a New York Times Best
Illustrated, among other awards. When she is not in her studio, she can
be found taking in an art class, hiking with her dogs or riding her
bicycle. She lives with her family in Rockport, Maine.

Eugene Yelchin is a Russian-born author and illustrator of children’s books. In 2012, Breaking Stalin’s Nose, his first illustrated novel, received a Newbery Honor award. That same year, Won Ton, A Cat Tale Told In Haiku,
which Yelchin illustrated, became an American Library Association
Notable Book, among numerous other awards. In 2010, his illustrated
picture book Rooster Prince of Breslov received the National
Jewish Book Award. Yelchin received a Tomie de Paola award in 2006 at
the SCBWI winter conference. Since then his books received starred
reviews and were included in the Best Books of the Year lists.

Pat Cummings is the author and/or illustrator of over 35 books for young readers.  She also edited the award-winning series, Talking With Artists,
which profiles prominent children's book illustrators. She teaches at
Parsons and Pratt, and her children's book illustration class has a
growing number of notable illustrator/authors among its graduates.  Pat
serves on the SCBWI board as well as on the boards of the Authors Guild,
the Authors League Fund, The Authors Guild Foundation and the Eric
Carle Museum of Picture Book Art. Along with visiting schools,
universities and organizations to speak about children’s books, she
conducts a summer Children’s Book Boot Camp that brings writers and
illustrators together with top editors and art directors from major
publishing houses.



and 

Cecilia Yung is Art Director and Vice President at Penguin Books for Young Readers
where she oversees illustration and design for two imprints, G. P.
Putnam's Sons and Nancy Paulsen Books. She is fortunate to have worked
with some of the major illustrators of children’s books, but the
highlight of her work is to discover and develop new talent. She is on
the Board of Advisors of SCBWI (Society of Children’s Book Writers and
Illustrators) as well as a member of its Illustrators Committee.


To find out more about these intensives, the assignments for attendees, and to register,  go here.


Illustrate and Write On,

Lee






Friday, January 27, 2012

How Did It Go? Impressions from the Writers Roundtable Intensive

The agents and editors sitting at each table are a who's-who of Children's Literature...  and one of the most exciting aspects of this day is getting immediate feedback from them on your work.  No waiting for weeks, or months.  No pitch, or query letter, or assistant who needs to read it first.  Just your 500 words, and their honest (and kind) and helpful critique.

The faculty participating, including and of the caliber of Michelle Nagler, Samantha McFerrin, Nancy Conescu, Tina Wexler, Jordan Brown, Alexandra Penfold and Kate Sullivan!

Truly an amazing opportunity.  Here are some post-critique thoughts by some of the Writers Roundtable Intensive attendees:

"It makes you realize how every word counts."
-Cynthia Shannon

"The caliber of writing at the table was really impressive, and I was encouraged to be among such great writers."
-Kathy Higgs-Couthard

"I'm no longer scared to put myself out there.  The editor told me what I needed to know, which is what I came for."
-Yvonne Hagan

"Listening to the editor's critique to everyone else I learned so much.  And of course I learned a lot from her critique of my work, too."
- Cathy Elliott

"It's a much more safe place to put forth your work than I thought going into it.  Very constructive criticism and very helpful.  I think it's invaluable."
- Jay Apking




The Writers Roundtable Intensive... Our Morning Panel on Voice and Critique Advice


Lin Oliver started things off by praising all of us Writers Roundtable Intensive attendees for being here, acknowledging how it's “a very brave thing” to put your work forward, and saying “today begins the hard work of writing.”

Sometimes the work you brought is ready… and sometimes it's not, and you need to be open and curious about where your path might take you.

Lin shared the inspiring story of Ruta Sepetys., who three years ago attended this Writers Roundtable Intensive, and received a very disappointing response to her YA.  One of her critiquers suggested that maybe that novel wasn’t really in Ruta’s voice.  Did she have anything else?  Well, she did, and Ruta started working on it. It has since been published, and this year "Between Shades of Gray" is an enormous critical and commercial success.  So for Ruta, the Writers Roundtable Intensive three years ago was a turning point, just not in the way she ever expected going into it.

And with that sage bit of advice and inspiration, Lin introduced the morning panelists on voice: 

Samantha McFerrin, Editor, Harcourt Children’s Books, Houghton Mifflin Harcourt

Nancy Conescu, Executive Editor, Dial Books for Young Readers

Michelle Nagler, Editorial Director, Bloomsbury Children’s Books


Lin Oliver (far left, standing) moderates the panel on Voice.  The panelists are Samantha McFerrin (left), Nancy Conescu (center) and Michelle Nager (right)

Each editor read an example of voice from a book they’d edited, and explained what it was about it that grabbed them. 

They discussed authorial voice vs. character voice, and covered a number of things to beware of when crafting your voice, including avoiding adult knowledge inserted in where it doesn’t belong, the issue of pop culture references, and knowing your details and getting them right.

A great tip for “writing in your groove” that came up: 

Read your manuscript out loud


The panelists and Lin shared their advice on participating in the critiques, including:

Don't defend yourself or talk during your critique - listening is so important.  
Take notes - something may resonate for you later
Stay open

Overall it was a fascinating panel and a great introduction to the morning's roundtable critiques.

Thursday, November 10, 2011

All about the Writers Intensives at the Upcoming 2012 SCBWI Winter Conference!

I expanded last week's conversation with Lin Oliver, SCBWI's Executive Director, to find out more about the two different writers intensives the Friday before the full 2012 SCBWI Winter Conference.

The Roundtable Intensive for Writers is a chance to share your work with (and get immediate feedback from) editors and agents. (And it sells out every year.)

And new for this conference, there's a Marketing For Professional Writers Intensive. In our video, Lin explains more:






You can register now for the Illustrator's Marketing Intensive and the whole Lucky 13th Annual SCBWI Winter Conference!

Hope to see you there.

Illustrate and Write On,
Lee

Wednesday, August 10, 2011

My Experience at Arthur Levine's Monday Intensive: Chapter One: The Great First Date of Your Novel


Arthur Levine, out-of-this-world editor and award-winning author, took twenty-seven authors out on a most-amazing first date. For Arthur this date was blind, not knowing who he'd meet until our first chapters hit his inbox. For us, we knew we were getting ready to meet the hottest guy around. I'm sure it's safe to say there was a whole lot of first-date jitters as we gathered and made eye contact with Arthur in the Pacific Room.

Thankfully, as soon as Arthur smiled and made us laugh, we all relaxed into the experience. And what an experience it was.

Arthur shared, with his many dates, ways in which a first chapter is like a first date. It really all boiled down to the question: Does your first chapter lead with, "This is what you're going to love about this me [this book]"?

Then things got personal. Very personal.

It was amazing to watch Arthur at work, as we all shared our beginning pages. The way he pinpointed what was working and what was not was a treat to listen to and learn from. We were then all asked to state what was our "best foot forward." Did we lead with it? Or something else? Did we begin in the right spot? Should it have been earlier or later? And Arthur gave us his own take on each and every beginning.

As the date came to a close, I know none of us wanted it to end. The sign of a most successful date. It went so well, I'm really quite sure it ended with a hypothetical kiss.

MWAH, Arthur! You certainly led with what we love about you, and you delivered to the very end.

Monday, August 8, 2011

My Experience at the Bruce Coville Writing Intensive: Making Room For Magic! The Art Of Writing Fantasy


Bruce Coville is a remarkable storyteller and author, and when you read his books, like "Jeremy Thatcher, Dragon Hatcher," and "My Teacher Is An Alien," and any of the other fantasies among his nearly 100 published titles, you can see his mastery of the Art of Writing Fantasy.

Bruce shared from his heart and expertise, giving us some amazing tips and advice and techniques that I can't wait to try. He answered our many questions in depth, and even did a number of first page critiques of the attendees' fantasy projects.

For me, listening to Bruce read my first page and a half out loud was remarkable. See, Bruce doesn't just read, he weaves a magic spell.

When they're his words, it's as if he's chanting them.

Enchanting his listeners and readers.

Re-enchanting our world.

And for the first time, listening to Bruce read my story opening aloud, I could hear how my words fell so far short of what I had hoped they would achieve.

And when I asked for more insight about when to start a fantasy story, what Bruce shared really resonated:

You don't have to start with the fantasy, but you might want to start with the character's problem in this world.


And it was an epiphany for me.

I may not know exactly HOW to solve the puzzle of my opening pages, but now I understand the problem with the starting point I had chosen.

Everyone finished Bruce's session energized and inspired. And as for me, I'm all fired up to do some of the brainstorming exercises he suggested to figure out how I'm going to meet the challenge, and start my story in the right place!

I'm so grateful to Bruce, and to SCBWI, for this amazing opportunity to really sink my teeth into craft and learn from a master.

Because I'm going to keep working at it until my words chant. Enchant. And re-enchant my readers, and our world.

Saturday, January 29, 2011

Interview with a Conference Veteran

Danielle Youngblood, a three-time conference attendee from Boston
For lots of people, this conference was the first national SCBWI shindig they attended. As transformative as a first conference can be, there's value to going back year after year, as writer Danielle Youngblood from Boston, Massachusetts can attest.

She's here for the third time, and each year she's learned something new that's advanced her career. The first two years, she participated in the writer's intensive, and had a picture book she'd written scrutinized by an editor and an agent (as well as the rest of the people at her roundtable).

Her takeaway? "It just wasn't my niche."

The second time around, she brought a YA sci-fi novel and during the manuscript critique, came to understand that the voice wasn't authentic, and that her readers weren't buying her character motivation. It was a tough realization, to be sure. But valuable--she kept her concept and geared it down to middle grade, the age of the students she happens to teach.

And now, she's confident she's found her format. She uses what she hears in the classroom to make her characters more realistic. And she's sharpened the pieces that will attract the attention of agents and editors.

"It’s more directed at the beginning," she says of her work-in-progress." The reader isn’t guessing who the character is and what the character was about."

With steady attendance at SCBWI conferences, Danielle says she's learned to approach publishing as a business, and not as an emotional experience. "I'm more strategic about getting feedback," she says.

And when she approaches an agent, she'll be ready. She knows the elements she needs to have to succeed.

"We writers have this romanticized idea that we're going to write a book and it's going to get published," she says. "There are so many intricacies of the writing process, of understanding the market, and how publishers work, and even getting acknowledged as a writer. It's a lot of work"--work she couldn't have done without the SCBWI.

Manuscript Intensives: a First-Timer's Perspective

Friday was an incredible day for the 208 writers who took part in the manuscript intensive session with 26 editors and agents.

Most people in the room were there for the first time (I'm one of those intensive newbies, so I was sweating along with the rest).

Mary Jackson of San Antonio, Texas found her first writer's intensive session to be "life changing."

"My hands were shaking as I was handing out manuscripts and they should be," she said.

Mary read the first 500 lines of her picture book--a piece she's been working on for several years. Rachel Griffiths, a senior editor at Scholastic, and Diane Muldrow, an editorial director at Golden Books/Random house gave feedback on Mary's rhyming story.

"They were both awesome," she said. "I learned so much in 12 minutes. I know now what I do to make that piece better and to make it sing."

Some feedback was especially heartening, as when Diane Muldrow pointed out a pair of couplets that reminded her of Ogden Nash's verse.

"That comment, I'm going to take to my grave," she said.

Before this experience, Mary had been getting feedback from family and friends. That's good for the ego, but not as good for the manuscript (though her 17-year-old son has given her helpful feedback on a YA novel in progress, she said).

Mary is now so enthusiastic about manuscript critiques that she contacted the SCBWI's Aaron Hartlzer for a hookup with a critique group.

"The best way to get better is to stay in a community," she said. "I've learned that I need this community of writers."

"Yesterday really absolutely was a turning point," she added. "I can divide my writing life now into before the critique and after the critique. The way I approach my work now will be different. I know now what doesn’t resonate and what does. I was emotionally attached to this piece. I thought I had stepped back enough and I hadn’t. It was a powerful lesson for me."

If you'd like to join a critique group, that's a benefit of your membership. Go to the SCBWI Regional Chapters page for the information you need.

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,
"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

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.

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


Friday, January 29, 2010

Writer's Intensive

Bring on the editors and agents!

The room is packed and tables of anxious writers are waiting for their editor or agent to take their seat.

Here's mine!


We'll be meeting with Arianne Lewin, Senior Editor, Disney Hyperion.
Posted by Jolie Stekly