Category Archives: Writing Techniques

Jul10

6 Insider Tips – Become a Writer Outside-r

Posted on July 10, 2022 by Vicky L. Lorencen

Get out!

Sorry. Too abrupt?

Please GO before it’s too late. Not to worry. A horde of flatulating zombies isn’t trudging your way. I want you to get out to discover what being outside can do for your writing.

Non-obligatory disclaimer: Common wisdom says to creating a designated writing space in your home helps the brain associate the space with writing and engage more readily. But it’s summertime! And I live in Michigan. Gnats stick around longer, so I want to enjoy the benefits of being an outsider before it’s too late.

Before you head out, here’s what to pack:

Two snacks. (One will be your real snack to refresh you when you need it, and the other is to eat shortly after you head out because once your brain knows that snack is there. We both know it will nag you–like a six-year-old who hears the ice cream truck coming–until you consume it. Do so without guilt or worry. Snack two is there for you.)
Hand sanitizer. This relates to the aforementioned.
Sunscreen. You want to produce masterful writing, not squamous cells and saggy skin, right?
Bug spray. One less distraction.
Water. Do I have to explain?
Electronic stuff. Fully charged phone for taking photos, recording ideas or even sounds, calling your agent to tell her how lucky she is to have you, and so forth. Fully charged laptop.
Legal pen and pens/pencils. Even if you don’t typically write the “old school” way, you may need it if your laptop stops.
An ID. This is for emergencies, like when you are blinded by your own brilliance and need help returning to base camp.
Something to sit on. (This one is destination dependent.) Think beach towel or a wee cush for the toosh.

To me the outdoors is what you must pass through in order to get from your apartment into a taxicab. ~ Fran Lebowitz

Oh, Fran. Fran. Fran.

And now, shall we step outside?

Sit on your deck/balcony/patio. Now, be prepared. The writing molecules in your gray matter may go all fizzy, but that’s temporary. Once you’ve acclimated, start a fast-as-you-can-type list of everything your senses are delivering to you. Describe those physical sensations. How do they make you feel emotionally? As a result, what childhood memories come for a visit? Be sure to keep your list in a folder for future reference to add depth and authenticity to your story.

Head to the beach. Listen to the water and the gulls, of course, but tune your ear into children at play, the sounds of distant volleyball match, the flap-flap-flap of a beach umbrella. Record what you see, how your toes feel in the sand, and the smells, both inviting and repulsive. (Is that a dead fish? Seaweed? A diaper?!)

Foamy and frothy/ribbons white/reflecting soft sunbeams/to our delight/foaming in crests/rippling warm sands/tracing their patterns/on the dry land. ~ Poem from “Seashore” by Suzy Davies

Linger at a sidewalk cafe. You’re not eavesdropping. You’re doing research. This is your chance to snatch random phrases, tone of voice, and humans interacting in their natural, caffeine-laced environment. What does the rude person say? (What’s making them behave this way?) How does the barista respond? (What’s really going on in her head?)

Walk around the block. Pay attention to the houses, yards, driveways, front stoops and porches. Record whatever captures your imagination. Why is that front door wide open? Why is that woman running with a leash and no dog? Is someone cooking sauerkraut? Oh, my gosh, I think those kids are having a pet funeral. A bike with a basket? I remember those. What’s with that beat up car? I never saw that bumper sticker before. Look at that poor dog. Oh, he must belong to Leash Lady!

Maybe freedom really is nothing left to lose. You had it once in childhood, when it was okay to climb a tree, to paint a crazy picture and wipe out on your bike, to get hurt. The spirit of risk gradually takes its leave. It follows the wild cries of joy and pain down the wind, through the hedgerow, growing ever fainter. What was that sound? A dog barking far off? That was our life calling to us, the one that was vigorous and undefended and curious. ~ Peter Heller, Hell or High Water: Surviving Tibet’s Tsangpo River

Hit the trail. Walk or bike, either way, see what the woods or a desert pathway can do to stimulate your senses. Close your eyes (once you’re off your bike!). Perk your ears. Suck in a chest full of that fresh air. Watch for critters or signs of their presence. What natural magic do you find?

None of your knowledge, your reading, your connections will be of any use here: two legs suffice, and big eyes to see with. Walk alone, across mountains or through forests. You are nobody to the hills or the thick boughs heavy with greenery. You are no longer a role, or a status, not even an individual, but a body, a body that feels sharp stones on the paths, the caress of long grass and the freshness of the wind. When you walk, the world has neither present nor future: nothing but the cycle of mornings and evenings. Always the same thing to do all day: walk. But the walker who marvels while walking (the blue of the rocks in a July evening light, the silvery green of olive leaves at noon, the violet morning hills) has no past, no plans, no experience. He has within him the eternal child. While walking I am but a simple gaze. ~ Frédéric Gros, A Philosophy of Walking

Park it. Take a blanket for flexibility or pick a park bench. Watch kids play. Listen to random bits of phone conversations as people pass. What’s the status of the remaining wildlife here? Are the squirrels timid or cheeky? How do the birds behave? What are they pecking at? Is that . . . ooo, I smell popcorn. (This is fortuitous since you’ve already snarfed down Snack 1 and Snack 2, haven’t you?)

Fewer and fewer people are raised outside of cities as the decades progress. Nature is sometimes not available for generations of children. Sad state of affairs. ~ Efrat Cybulkiewicz

Nov22

Giving Thanks for Writers & Watercress – A Chat with Andrea Wang

Posted on November 22, 2021 by Vicky L. Lorencen

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Driving through Ohio in an old Pontiac, a young girl’s parents stop suddenly when they spot something growing in a ditch by the side of the road…watercress!

With an old paper bag and some rusty scissors, the whole family wades into the muck to collect as much of the muddy, snail-covered plant as they can.

At first, it’s embarrassing. Why can’t her family get food at the grocery store?

But when her mother shares the story of her family’s life in China, the girl learns to appreciate the fresh food they foraged.

Together, they make a new memory of watercress in this tender story inspired by the author’s childhood memories and illustrated by Caldecott Honor artist Jason Chin.

(Description source: Jacket flap, WATERCRESS by Andrea Wang)

Here we are, Thanksgiving Week, and I am feeling so grateful for time to chat with my extra special guest–Andrea Wang!

Andrea is the award-winning author of The Nian Monster (APALA Honor, PW starred review) and Magic Ramen: The Story of Momofuku Ando (JLG Gold Standard Selection, Sakura Medal, Freeman Book Award Honor, SLJ starred review). She has two books releasing in 2021: Watercress (JLG Gold Standard Selection, starred reviews from Kirkus, SLJ, PW, Horn Book); and The Many Meanings of Meilan, her debut middle grade novel. Her work explores culture, creative thinking, and identity. She is also the author of seven nonfiction titles for the library and school market. Andrea holds an M.S. in Environmental Science and an M.F.A. in Creative Writing for Young People. She lives in the Denver area with her family.

Welcome, Andrea. Thank you for stopping by Frog on a Dime. I’m so excited! Let’s hop right in and talk about your latest picture book WATERCRESS . . .

I see you dedicated WATERCRESS in memory of your parents and described them as “immigrants and inspirations.” In what way did they inspire you?

It takes an enormous amount of courage to give up everyone and everything you’ve ever known to go live in a place where you don’t speak the language, all in pursuit of a better life for yourself and your family. Finally understanding the hardships and sacrifices my parents made inspired me to not only pursue my dream of writing, but also to be vulnerable and emotionally honest in my writing.

That’s beautiful.

What do you feel is gained when parents and grandparents open up to their children/grandchildren about family history and memories?

I talk about this in my Author’s Note, so I thought I’d share that part of it here: “…it’s important, too, for children to understand their family history. Perhaps if I had known about the hardships they had faced, I would have been more compassionate as a child. Maybe I would have felt more empathy and less anger. More pride in my heritage and less shame. Memories have the power to inform, to inspire, and to heal.”

Those are great insights, Andrea. Thank you.

What do you hope young readers take away? What about parents? Teachers?

I hope all readers see that, no matter where you are from or how you identify, we all share a common humanity. You may not be a child of immigrants or have had to pick food from the wild, but everyone has felt embarrassment, shame, and the feeling of not belonging. The emotions in WATERCRESS are universal. We need to be kinder to each other, to reach for understanding rather than react out of ignorance.

No surprise, next I’d like to ask a few questions on behalf of my fellow writers, okay?

How long after you wrote WATERCRESS did you feel ready to share it with anyone?

In its current form, I think I shared the manuscript with a few critique partners right after I wrote it. Mostly, I wanted to get their feedback about what they thought it was–just a poem, or could it be a picture book? They thought I should send it to my agent immediately, so that’s what I did. But it took me about eight years to write this version of WATERCRESS and I did share those previous versions with critique partners, so it was an iterative process, like writing always is.

I’m so glad you persevered–and that you listened to your critique partners!

Published by Neal Porter Books/Holiday House
ISBN-13: 978-0-8234-4624-7

What was your approach to this autobiographical story compared to previous manuscripts?

I don’t know that I’d call it an “approach,” because that sounds like I went into this project with a plan and that’s not how it was at all. The first version of this story was in the form of a personal essay for adults, which I thought would be a good format since I was using my own memories as material. But that piece didn’t really work, so I rewrote it years later as a fictional picture book. That version was from a 3rd person POV and it was better, but too long and lacking an emotional heart. Several more years later, I found the perfect mentor text (A DIFFERENT POND by Bao Phi and illustrated by Thi Bui) and revised the manuscript again, returning to 1st person POV and paring away every single word that felt extraneous, so that it came out in free verse.

Your use of spare text meant you needed to lean on the illustrator, Jason Chin, to communicate for you at times, including one of the story’s most poignant scenes. That’s a challenge for many picture book writers. How did you reach to that level of trust?

While I was writing this free-verse version of Watercress, I honestly wasn’t thinking about the illustrator or the illustrations at all. I was writing for myself, and I knew exactly what I meant by each line. I did consciously add a couple of clues (“Mom never talks about her China family,” and “Mom never told us what happened to him.”) leading up to that scene you’re referring to, so the reader is primed for the reveal. I also went back and made sure that every description in the text conveyed character, emotion, and/or setting that was necessary to the story. Everything else got pared away. I would advise PB writers to write illustration notes in their first drafts, then go back to each note and ask if it’s really necessary to the story. Does it add depth to a character, convey emotion, or establish atmosphere? Would the story and the reader suffer if the information was omitted? If not, then delete! If yes, then try to work the information into the text using vivid verbs, metaphors, and adjectives. I always aim to not have any illustration notes in my manuscripts.

Thank you, Andrea. If I’m ever brave enough to attempt another picture book, I’m going to follow your brilliant advice!

And now, one last question, this time for my curious foodie friends . . .

Do you prepare watercress now for your family?

In WATERCRESS, the family eats the vegetable stir-fried, which is how I prefer it. I don’t follow a formal recipe since it’s so simple, but this is how I make it:

Stir-fried Watercress

1-2 tsp cooking oil

1 bunch fresh watercress, rinsed and drained

1 clove garlic, sliced

salt

toasted sesame seeds for garnish (optional)

In a wok or large frying pan, heat the oil over medium-high to high heat. Add garlic and stir quickly with a spatula.

After a few seconds, add the watercress and continue stirring for 1-2 minutes, until the watercress has changed color and the stems are tender.

If the bottom of the wok runs dry, a couple of tablespoons of water can be added to keep the vegetables from scorching.

Add salt to taste and transfer to a serving dish.

Sprinkle with sesame seeds and enjoy!

Andrea, thank you so much. It’s been a delight and an honor to have you as a guest today.

A Bonus Thanksgiving Surprise! Win a Copy of WATERCRESS!

As an expression of thanks, Frog on a Dime invites you to enter for a chance to win your very own personalized copy of WATERCRESS, signed by both Andrea Wang and Caldecott honoree Jason Chin.

TO ENTER, simply leave a comment below.

The names of THREE lucky winners will be drawn at Noon on Thanksgiving Day, Thursday, November 25.

The secret of happiness is to see all the marvels of the world, and never to forget the drops of oil on the spoon. ~ Paulo Coelho

Oct17

12 1/2 More Things I Know About Humor

Posted on October 17, 2018 by Vicky L. Lorencen

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Do you see what she’s doing?

I know. I’m mortified.

Opening with a disclaimer again? Can she not jump in like a real writer?

I know. Grow some confidence already.

There’s no stopping her, is there. And those glasses. What?

I know. I can’t watch. Let’s go find a bigger mirror.

______________________

Disclaimer: Writing rules, like the English language, are tufted with exceptions. Humor writing is particularly subjective. If one of the following tips does not speak to you, just remember tips can’t talk, my little apple strudel.

Some days you gotta bring your own sunshine.

My 12 and a half subjective take ’em or leave ’em suggestions for writing with humor:

1. Study sit coms and stand up comics.

Notice how situation comedies approach even heavy topics – infidelity, gambling addiction, shoplifting, sexual harassment, gender bias, challenges of aging and elder care, infertility, death, marital disputes, divorce/separation, socioeconomic disparity, juvenile delinquency, mood disorders. All of those were woven into episodes for The King of Queens!

Listen to stand up comedians. Catch the rhythm of jokes and notice the use of the rule of threes to get a laugh. 1 & 2 set the expectation and 3 flips it. Listen for it!

2. Give a character a funny name—but not all. Example – my current middle grade novel has a teacher named Mrs. Belcher.

3. Pace yourself. If your novel is a gut buster in the first chapter, you’ve set an expectation. If chapter two goes super serious, it feels like a bait and switch to your reader. Make sure you can keep the promise you made with chapter one. If you can’t or don’t want to keep the comic pace, take the opportunity to create an emotional equilibrium when you revise. Go from FUNNY to funny.

4. Be genuine. Just because humor adds levity to a story, it doesn’t mean you can’t include heavy issues or situations that would be meaningful to your readers. (See Point 1.)

5. Be natural. Allow humor to bubble up and feel organic to the personalities of your characters and the world you’ve created for them. For me, that means writing to amuse myself in those early drafts. I do not worry if a kid will get it or will laugh. I can keep the gems and edit out the excess later.

6. Harvest funny details from your family like unique expressions, odd names for things, unusual habits or hobbies. These goodies give your story a taste all its own.

7. Consider the pun. I love ’em, but keep in mind, they don’t always translate to an international market.

8. Play with words and make up new names for products or games. Related to this, make Urban Dictionary your new best friend. Trust me on this one.

9. Switch up the situation. Put your character in an unfamiliar situation. A “first” experience is prime territory for this.

10. Funny characters still need to be people of substance. If you have a 3-D straight man, you can’t have a flat funny man. Related thoughts . . .

Interview characters – this is really, really, really important. Really.
Your secondary characters can be a gold mine, so be sure to interview them too.
Personality quirks are fun, but they must contribute to the story in some way.

11. Don’t overlook the “serious” character as a source of humor. Being earnest, having zero sense of humor and taking things literally, can be amusing in its own way.

12. Recycle your embarrassing moments, especially if it will aid your emotional health.

And a half – Laughter is carbonated holiness. ~ Ann Lamott

BTW, this post has a companion. If you enjoy humor writing, I have a funny feeling you may want to read that one too.

_____________________________

Is she done? She took like forever.

I know. But she is kind of funny.

Smelling.

I know. It’s like Windex mixed with burnt toast and apprehension.

But we still love her.

I know.

Aug12

Go Ahead. Make a Scene.

Posted on August 12, 2018 by Vicky L. Lorencen

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Let me go out on a squirrel-infected limb here, and take a guess about you. Here goes– unless you’re a “Real Housewife of (Wherever),” it’s unlikely you would intentionally make a scene in public.

Am I right?

I knew it!

Receiving positive attention from friends or colleagues is swell, but drawing every eye in the room because you did something outrageous or embarrassing, well, that’s un-swell.

For writers of novels, however, making a scene can be a sign of progress. My wise chocolate mint grasshoppers, you know I’m referring to a scene in a story.

I plotted by current WIP by making a simple bullet point list. Thanks to that list, the writing moved along swimmingly [cue ominous music] until I got snagged on a BIG perplexing plot point. I felt daunted and discouraged.

waves Then, I found a detour! I studied my bullet list. I picked a few points later in the novel that I felt ready to imagine. I wrote those scenes. Wow! That felt good. As I progressed from one scene to another, in any order, I experienced the delight of forward motion. I sailed from Daunted > Encouraged > Empowered. Those good vibes are infusing me with the courage I need to draft the tricky scenes I skipped.

A time to knit these disparate scenes together will come, and (gulp) I’m excited to see how well that process will work. If it doesn’t, I will scream @#$%&!! in the middle of a crowded restaurant, then sweep my arm across a table to upend coffee cups, slide china to the floor to shatter and send the salt shaker flying. Next, I’d quack and skip out the door with a bread basket on my head. Now, THAT would be a scene.

If you are slogging your way through a first draft and feel stuck, why not free yourself to write a scene for any point in your novel–Act I, II or III. It may be just what you need.

As a bonus, here’s a practical, energizing article from Writer’s Digest with ten tips for launching strong scenes. And, as a bonus-bonus (that’s a thing), here are more options for regaining your momentum.

My best wishes to you as you craft your scenes. Pass your tips along too!

“[on scene execution] Interesting isn’t the point…storytelling momentum and relevance is.” ― Larry Brooks, Story Engineering: Character Development, Story Concept, Scene Construction

Jun20

How to Unstuck Your Story

Posted on June 20, 2018 by Vicky L. Lorencen

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I hate outlining

It was incredible. Two steps to the left in Lane 32 and I was out of the gutter.

Mind you, I move with the precision and grace of a mudslide, yet those steps made all the difference. I actually got three spares in a row. (A lifetime bowling achievement. I may retire in glory now.)

Remembering how changing angles at the bowling alley was a literal game-changer, I tried the same thing with a research question for my day job. I began by Googling the obvious key words and only found what I already had. Then, I decided to take two [metaphorical] steps to the left and come at the search from a fresh angle. My little snow peas, I could not believe the great stuff I found. It answered my question and much more.

Also related to perspective, when I watch movies I can get distracted as I wonder how the camera person captured a particular shot. Where were they exactly? Under the water? On the roof? In the floorboards? Filming a scene from just the right angle is pivotal to conveying the story. Imagine James Cameron opting to create Titanic with the exclusive use of close-ups or if Greta Gerwig directed the film crew for Lady Bird to shoot each mother/daughter scene in wide, aerial views. Pish posh on those perspectives!

All this to say, in my experience, when it comes to unstucking a story, it can be as “simple” as shifting your perspective and peering at it from a yet-to-be-explored point of view. (This, from the writer who is drafting her first novel in third person. I love it! I mean, she loves it!)

Children’s author and writing teacher extraordinaire Sarah Aronson offers these gleaming quick tips to help you get your manuscript out of the mud.

SarahAronsonWritingTip

(“Quick Tips for Writers!” is shared with Sarah Aronson’s permission. Just so you know.)

I hope this has been helpful, my little rose hips. Let me know your perspective.

A little perspective, like a little humor, goes a long way. ~ Allen Klein, past president of The Association for Applied and Therapeutic Humor. (Yes, apparently, that’s a thing.)

Nov6

Some & Soon & Specificity

Posted on November 6, 2017 by Vicky L. Lorencen

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Photo by Vicky Lorencen

Let me give you the truth. (And yes, you can handle the truth.) I am frustrated by the lack of progress with my Work In Progress (WIP). Perhaps calling it a SIP–Snail In Progress is more accurate. I suspect one (of the many) reasons for my slogginess is the overwhelmingness of it all. Novels are so stinkin’ big and messy and apt to misbehave at every page turn. You know? I think maybe you do, my ginger snap.

So, I’ve been on high alert for a simple way to progressively make more progress, and I think I may have landed on something–specificity. Lemme explain.

Last week, I was at this training for my day job and one of the speakers (Dr. Don Berwick) used a catchy phrase that sent up a flare in my brain:

“Some is not a number. Soon is not a time.”

Say, that’s, why, that’s true. The doc had something there.

Then! I read this quote by the brilliant and darling Kathryn Erskine recipient of the 2010 National Book Award for Young People’s Literature. She said, “I don’t like the word soon because you don’t know when it’s going to sneak up on you and turn into NOW. Or maybe it’ll be the kind of soon that never happens.”

But wait, there’s more.

Then! I listened to this guy I “met” on Facebook. Comedian Tim Minchin addressed a graduating class at the University of Western Australia. (You should listen to the whole thing, ahem, after you finish reading my post, si vous plait. It’s really kind of brilliant.) Anyway, among his many glinty shards of wisdom, Minchin imparted this gem–“I advocate passionate dedication to the pursuit of short-term goals. Be micro-ambitious.”

Is it just me, or is there a theme emerging?

You see it too? Oh, good.

Photo by Vicky Lorencen

So, let’s say you (and by you, I mean, I) want to write a middle grade novel. You need at least a good solid 30,000 words. That’s daunting. But instead of diddling (or in my case, doodling), why not passionately dedicate to the pursuit of a short-term goal?

Let’s do the math and get very specific. (I cannot believe I’m going to do math in front of you. The terror.)

You are going to write 30,000 in 6 months.

That equates to 5,000 words a month.

And that means you’d need to pump out about 210 words a day (six days a week).

That’s less than one page of writing a day. It’s specific. It’s possible. (I want to see nodding here.)

It’s not easy, but it’s a lot less scary than staring down the whole 30K.

Am I right? Yes, yes, of course. (Again with some nodding please.)

Instead of being macro-lethargic, I can be micro-ambitious–and reach my goal. I will be declared dauntless! Okay, okay, so it’s not sexy, but a declaration of dauntlessness ain’t nothin’ to poo-poo.

Photo by Vicky Lorencen

While I say “no” to National Novel Writing Month (NaNoWriMo) each November (sorry, my little pumpkin muffins), I am sure the momentum it creates can be intoxicating. If that kind of specificity works for you, I say huzzah! Ever forward!

Remember, my chicken dumplings, some is not a number. Soon is not a time. Specificity is the ticket to getting things done.

Now that you (and I) know this, let’s become micro-ambitious sometime soon, mm-kay?

“I wish it need not have happened in my time,” said Frodo.
“So do I,” said Gandalf, “and so do all who live to see such times. But that is not for them to decide. All we have to decide is what to do with the time that is given us.”
― J.R.R. Tolkien, The Fellowship of the Ring

Jun15

For the love of critiques, line edits and proofreading, what’s the difference? I mean, seriously, what is the difference?

Posted on June 15, 2017 by Vicky L. Lorencen

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cry baby

Quick–what’s the difference between developmental editing and line editing? What can you expect from a critique? Is line editing the same as copy editing?

Not sure?

Don’t cry, my little rose bud! Help is on the way.

These explanations may give you some clarity and clear up those tears.

Manuscript critique – a critique consists of a compilation of feedback in the form of a letter (typically) regarding pacing, flow of narrative, transitions, voice, structure and other essential elements of stylish prose. This will provide a subjective view of the strengths and current weaknesses of your manuscript. You typically do not receive comments on the manuscript itself, as with a line edit.

Developmental editing – this extensive type of editing allows you to take a birdie’s eye view of your whole manuscript. With this type of editing, you may receive feedback in the form a of lengthy, detailed letter focusing on “opportunities for improvement,” regarding issues such as pacing, flow, transitions, voice, plot, structure, dialogue, character development and more. You may also receive positive observations and suggestions too. Developmental editing does not include the nitty-gritty elements of a line edit.

Line editing – what you have here is the big enchilada of edits, aka “comprehensive editing.” This level of editing, which can vary from heavy to “light” (don’t think fluffy here), consists of a careful combing of your manuscript regarding all of the important elements of fine writing, such as voice, pacing, rhythm, dialogue, character and structure. Think of it as someone cleaning out the crumbs in your silverware drawer, only in this case, the toaster tidbits pertain to issues like transitions, voice, word choice and character development. You can expect many comments on the manuscript itself.

Not sure about the difference between line editing and copy editing? Check out this helpful article.

Proofreading – the main objective here is to ensure your manuscript is as clean as it can be–free of typographical errors, grammatical gaffs, style inconsistencies or other mishaps that will distract or confuse your reader. This article gives you a helpful rundown on what to expect.

Eventually, every manuscript will need all of these interventions, but for now, take a look at your manuscript and ask yourself what would help you take it to the next level, get you unstuck or unravel a plot knot for you. If you’re a visual learner like me, this chart from Yellow Bird Editors may also help you decide.

[Insert thought bubble here–“Sheesh. Isn’t she going to tell us where to find help?”]

So, my little summer strawberries, where can you get help with your manuscript? (I just had a hunch you’d like to know. ) Sources for critiques and editing are often offered in connection to writing workshops, and are also available via SCBWI, professional services like Yellow Bird Editors or even among your own circle of writing friends or critique group. (And about that last one–if you seek the help of an author/friend–unless you are able to reciprocate in kind–offer to pay them, okay?)

My very best shimmery, summery wishes to you, my talented friends! You can do this.

One day I will find the right words, and they will be simple. ~ Jack Kerouac

Aug25

To my friends who write for teens

Posted on August 25, 2016 by Vicky L. Lorencen

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Dear Friends Who Write for Teens,

Collage by Vicky Lorencen

Car-less high schoolers in my neighborhood must meet at a bus stop a stone’s throw from my house. I heard them gathering this morning as I lay in bed. A loud-mouth girl shouted to her friends down the street. Other kids laughed. And although I didn’t peek out my bedroom window, I imagine there was at least one stoic kid standing solo in a sweat-drenched cocoon, clutching a sack lunch.

I rolled over on my pillow and thought about those kids. My heart went out to all of them, to the loners for certain, but truly to each of them, even Ms. Loud-Mouth. I knew that once they boarded that bus, they were headed to an emotional meat grinder. Part of me wanted to open my window and yell, “Listen! There’s some important stuff you need to know!” and then I’d talk as fast as I could before the bus roared down our street. But that part of me didn’t move off the mattress. And so, this is where you come in, my dear friends who write for teens.

Will you, in your own unique, skillful way, remind these kids of how precious they are? They are no less loveable than when they were darling, chirping preschoolers. I know some of those kids may not be or feel loved right now, but they are no less love-worthy.

Will you, somehow, in a way only you can, let them know that what the cool kids think of them during high school will not matter AT ALL after graduation?

Will you, using your subtle magic, encourage them to talk to everyone–not just the kids they like, to get involved at school, to take wise risks and to keep the long view in mind (i.e., there’s life after high school) because the choices they make now matter?

Will you woo them into seeing the value of a trusted adult friend–a teacher, a coach, a grandparent–who can act as a mentor and support?

Will you, with sincerity and without condescension, offer them some kind of hope for the future and a touch of inspiration that will spark imaginings and dreams?

Will you, with your prosey powers, help your readers feel seen and heard and known?

Yes, yes, I appreciate the pressure I’m placing on you. But you’re more than up for the challenge! I also know I probably sound idealistic and maybe even mushy (yeesh), but I know that you, like me, have who-knows-how preserved a soft, empathetic chamber in our hearts for teens. We remember that merciless emotional meat grinder and we’ve lived long enough to tell about it.

Finally, will you remember how much I appreciate what you do so well? Because I do.

Growing up is hard, love. Otherwise everyone would do it. ~ Kim Harrison

Apr3

a fine use for bullets

Posted on April 3, 2016 by Vicky L. Lorencen

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I hate outlining

“Planning to write is not writing. Outlining, researching, talking to people about what you’re doing, none of that is writing. Writing is writing.” Right you are E.L. Doctorow. I can’t argue with you.

Up until recently, I’ve been a writing pantser–someone who flies by the seat of her pants like a magic carpet. Weeeeeee!!! It was a fun, exhilarating, spontaneous, surprising, unfettered, chaotic, halting, sputtering, who-knows-how-the-heck-I-got-here way to write.

When I’ve considered a popular alternative, outlining, my skin literally crawled. No kidding. It wriggled clean off muh bones. (See why I can’t outline? I can’t even write without doubling back and making silly asides.) SO, anyway, outlining was not attractive to me. What a time and fun-sucker. Why not just jump in? I wanted to be surprised! At the same time, I liked the idea of pre-planning as a means of making steadier writing progress.

But as a card-carrying AntiOutlineist, I yearned for a way to enjoy the benefits of outlining without actual doing it. There were plenty of alternatives involving Post-it Notes, index cards or oversized sheets of paper, but I wanted something even simpler. It if could involve my adoration for list-making, that would be a bonus. That’s why I chose bullets. Round. Simple. Readily Accessible. Inexhaustible in supply.

Now, my little warm cinnamon crumb cake, you know I mean these kinds of bullets. . .

Yes,
I
knew
you
would.

When I recently approached an extensive novel revision, I chose bullets to help me compile the sequence of events and actions of my characters. I didn’t write long descriptions of each scene. I wrote just enough to ensure I’d have what I needed when I returned to my list later. As I compiled this list, naturally, I’d identify roadblocks. But then, I could easily scan back to see, and then change, the sequence of events to release that blockage. I was able to think through each character’s actions or responses and their natural consequences. I could think proactively about how to crank up the story’s tension or humor or tenderness.

And now, armed with my bullets (hardy har har), I’ve had an easier time approaching the revision process. Plus, I’ve felt energized and encouraged because the bullets serve as an assurance that it’s going to be okay. Keep going. You know you can work this out. You’ve already untangled your plot and mapped out a path for your characters. And I know they won’t fail to surprise me, so there’s still fun to be had.

E.L. Doctorow is right–we can’t just yack about writing, we need to actually do it. But, before you do, see how you like writing with a batch of bullets by your side. G’head. Give it a shot. (Ouch.)

I’m one of those writers who tends to be really good at making outlines and sticking to them. I’m very good at doing that, but I don’t like it. It sort of takes a lot of the fun out. ~ Neil Gaiman

Oct12

writers can learn a lot from a dummy

Posted on October 12, 2015 by Vicky L. Lorencen

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Collage by Vicky Lorencen

Back in the late 1900s, there was a clever public service announcement encouraging seatbelt use. It featured crash test dummies and the tagline “You can learn a lot from a dummy.”

Fast forward to, well, right this very minute. When I hear the word dummy, I think of a mini mock-up of a picture book, not a badass mannequin.

Some of my friends write picture books exclusively. (If you must know, I admire/loathe them all. Blast their bundles of talent! Promise not to repeat that, okay?) While, I, on the other cramped hand, write picture books illusively. Meaning, I get a won’t-go-away idea. I do my best to puzzle the idea into a manuscript and then tinker with it until it begs for mercy. Then rinse and repeat. It is never easy or pretty. But, Seuss help me, it brings me a perverse, inexplicable delight when I finally pin that butterfly of an idea to the board. Making a dummy helps me get to that point.

Whether you and picture books are going steady or you only hang out when the mood strikes, dummy-making may be wise for you too.

Smart dummy pointers . . .

Do not waste a nanosecond worrying about your inability to draw. Dummies are designed to be tools, not objets d’art.
Illustrators need a dummy. Writers need a dummy. All God’s children need a dummy (more or less).
If your picture book word count needs a serious count down, making a dummy can really help. You can easily see which words are keepers and which are just leftovers. Aim for 500 or less–a whole heap less.
Dummies will also tell you if your cute or clever idea is robust and active enough to sustain a 32-page page-turner.
For a tip-top primer on how to make a dummy, visit this blog post from picture book author extraordinaire Tara Lazar.
At a recent SCBWI event, I picked up this cool trick from masterful picture book author Kelly DiPucchio. Once Kelly has a decent draft, she prints it and cuts out each line, then uses an existing 32-page picture book (any one will do) to check her pacing. She paperclips or lightly tapes her lines into the book to see how well her story fits the format. If not, she can tailor and tighten or expand.

You simply must be convinced of a dummy’s brilliance by now.

And so, my little cummerbund of cuteness, my bon vivant of brilliance, do you dare devise a dummy? Indeed, I hope you do.

Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things. ~ Steve Jobs