Tag Archives: novel writing

blog hop tour hops to frog on dime

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Photo by Vicky Lorencen

Photo by Vicky Lorencen

Blog Hop is a blog tour showcasing authors and their writing process. I was honored to be tagged by Kristin Lenz, writer of YA and New Adult novels, and all around super fly, groovy chick. (Thank you, Kristin for inviting me!) I tagged another YA writer extraordinaire, Ann Finkelstein, for the next leg of the Blog Hop. You can learn more about Ann at the close of this post.

So, here we go with the Q & A portion of our program.
I hope you are grading on a curve. (And remember, I was promised there would be NO math problems.)

What am I working on now?
I just finished my second contemporary middle grade novel, SHORT CHANGED, at the end of May. Thankfully, as I was wrapping up novel two, ideas for middle grade number three began to percolate. Did I mention Ray, the main character of this novel, is forcing me to learn to knit because he likes to knit? He takes his protagonist role very seriously. I don’t want to disappoint him.

How does my work differ from others in its genre?
It has my voice. What would be the point of imitating anyone else? We already have a Jerry Spinelli and Sharon Creech. I like to blend humor with tenderness (tempered with enough references to boogers or puke to make it believable and boy-friendly).

Why do I write what I do?
Writing middle grade is a sweet spot for me–readers are still young enough to appreciate my dorky sense of humor, but sophisticated enough to handle more complex plot lines, language and themes. But I don’t have to write any “content.” (blushing) I know. I know. I’m such a ninny.

How does my writing process work?
First off, you should know, I never ever intended to write a novel, much less two, going on three. I remember showing my grandpa one of my published magazine stories. He said, “That’s good, Vick. Now, where’s your novel?” I told him flat-out, “I’m not a novelist. There’s no novel in me.” (See? Such a ninny I am.) It wasn’t until a friend asked me to collaborate on a novel with him that I ever thought to attempt such a crazy thing. I mean, novel writing was for, sheesh, I don’t know–novelists. But I reasoned that before I co-wrote a novel, maybe I’d better see if I’m capable of creating a one on my own. And so it began.

My first middle grade novel, SHRINK, germinated from a short scene based on a childhood memory. The story took on a life of its own as I began to ask why–why did the main character say that? Why does he feel this way? Why did he make that decision? To whom is he telling his story? And why? Because I was neon green at novel hatching, I pretty much let the characters run the show, which meant I had a lot of clean up to do on the back side. (Kids are not known for their logic or consistency you know.) I still love the characters in that first novel and even miss them when I see a real-world kid who looks like one of them. I must have done something right.

My second novel was inspired by a stupid idea. I thought it would be clever and ironic to write a novel with the title SHORT STORY. But that, I was wisely advised, would get way too confusing. So, I changed the title to SHORT CHANGED, but kept the basic story. I tried writing this novel on my own, like the first one, while trying to avoid the rookie pitfalls. But eventually, I opted to enroll in a novel-writing course through the Institute of Children’s Literature. The individualized instruction and the built-in deadlines helped me progress. I’d recommend taking an ICL class. If you want to know more, just let me know via my contact page and I’ll get right back to you.

My third novel is unfolding very differently. I want to plot and plan and outline before fully immersing myself in this novel. I am gathering articles and ideas too. And, as I mentioned earlier, I’ve got to take those knitting lessons. I’m also going to “interview” each of my characters in order to create character sketches. I treat characters like they are already fully-formed people. It’s my job to get to know them and create a world for them to live in and circumstances to respond to. (And how “simple” is that?)

Based on what I’ve experienced so far, I love the entire novel-writing process–the first niggling from a new idea, meeting my characters, creating that first draft, revising (ad nauseam), receiving critiques, revising again . . . I love it all. Except when I don’t.

(I hope I got the answers right.)

The next stop on the Blog Hop tour will be hosted by my talented friend and Sock Sister Ann Finkelstein. Ann writes young adult novels in Michigan. She enjoys biking, hiking, cross-country skiing and photographing the great outdoors. Read more about her. You can read Ann’s brilliant answers about her writing process on Friday, June 20. Don’t miss it!

Writing in English is the most ingenious torture ever devised for sins committed in previous lives. ~ James Joyce

focusing on the write thing

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My "cheerleader," Cynthia Leitich Smith

My “cheerleader,” Cynthia Leitich Smith

My "cheerleader," Lauren Myracle

My encouraging retreat critique group--Ann Finkelstein, Anna Boll, me and Lori Steel

My encouraging retreat critique group–Ann Finkelstein, Anna Boll, me and Lori Steel

Vermont College of Fine Arts

Vermont College of Fine Arts

Someone once told me that the way detectives learn to spot a counterfeit is to study the original. The more familiar they are with, say a real $100 bill, the easier it is to see the differences in a fake. In other words, they focus on the good, not the bad.

This weekend I participated in a retreat for writers of novels for children and young adults at Vermont College of Fine Arts in Montpelier. Now, I’ve been to lots of writing conferences and workshops over the last decade, but what set this experience apart was the emphasis on the positive. Retreat organizer Sarah Aronson told us at the outset that when we receive a critique we should not discount the good comments we receive.

Too often that’s just what I’ve done. I think to myself, This person is only saying kind things to let me down gently before the hammer falls. But Sarah encouraged us to really listen to the observations about what we’re doing well. The good bits are, after all, the parts we want to create more of, right? By concentrating on recognizing my authentic writing voice, not the counterfeit, I’m better able to hear the difference between what’s true and what’s tinny. Sarah’s advise made all the difference for me. I soaked up the good comments, not to pump my ego, but to learn how to make progress.

It goes without saying, but here I go saying it, that this doesn’t mean I get to ignore the parts of my work that need, well, work. (Some of it is downright stinky. Get the clothes pins please!) And sure, it’s essential to listen to constructive criticism, to consider the suggestions of others and to welcome even hard-to-hear feedback. But allowing myself to accept words of specific affirmation has caused me to see my abilities in a whole new light. I’m better able to see what’s possible, instead of thinking, this is impossible.

As a result of embracing the positive, when our amazing presenters like authors Cynthia Leitich Smith or Lauren Myracle or Candlewick editor Andrea Tompa humbled me with kind words, I could thank them. Was I shocked? Okay, yes. But I was still able to thank them instead of waving the words away.

I came home from the retreat feeling rejuvenated. My faith in my abilities was bolstered a bit and I can honestly say I feel hopeful for the first time in a long time. I am energized, instead of deflated. WOW, does that feel good!

You may not be able to escape to a writers retreat in the mountains of Vermont (I’m still stunned that I was able to!), but let me encourage you to adopt the same shift in focus. You will be amazed at the difference it can make. I’m positive of that.

You’ve got to accentuate the positive, eliminate the negative, latch on to the affirmative, don’t mess with Mister In-Between. – Johnny Mercer