#LA15SCBWI Conference Round-Up, Part I: The Nitty Gritty

I came home from the #LA15SCBWI Summer Conference last Tuesday morning, and I slept basically all day, all night, and for part of the next day. I was essentially a walking bag of skin and bone and muscle with a jumble of sluggish goo for brains for a few days. That’s what “processing” looks like, I guess.

The conference was amazing. It was inspiring and exhausting and wonderful. There is nothing like being surrounded by people who write, and having a solid chunk of five days to think and talk about nothing other than the craft of story. It crystallized my understanding that what I need right now is to create for myself the space to write - both a physical space, and mental space from my everyday responsibilities, where I can focus on nothing but story.

There were too many key moments to share them all, but here are a few highlights:

Mem Fox read her books to us, and it was awesome. You are NEVER too old to be read to. On writing, she said, “It is the emotion generated from an original felt event that drives a book to be born. The readers will feel a certain emotion because the author felt it first.”

Also from Mem Fox: cadence and rhythm are vital. She said this in reference to picture books, but really, I think they’re equally important in novels. Cadence and rhythm are what make the story’s voice distinct; they’re what make a book beautiful.

Speaking of voice: VOICE. Voice, voice, voice, voice, voice. Voice is more important than basically everything, because it’s the hardest thing for an editor to fix. (Although a strong voice with no story to tell is still going to get a “no” from most editors.)

Dan Santat had a wonderful thing to say for those of us still struggling to find our “voice”, which is this: “Be aware of your tastes and interests. This will become your voice.” I had never thought of it this way, but the more I think about it, the more it makes sense. Because who are we, apart from our tastes and interests? Those are the means through which other people come to know us.

Meg Wolitzer gave an excellent keynote that held more one-liners and tweetable quotes than I’ve ever heard contained in one keynote. Among them was this thought that I think holds within it the reason that so many publishers say that they want a book that sits at the intersection between literary and commercial fiction: “The thing you love about a book isn’t plot; it’s character.” And if you think about it, it’s true. A book with a rollicking plot is a fun read, but the books that grab you and hold onto you and worm their way into your soul are the ones with great characters.

Varian Johnson talked at length about the importance of placing a higher priority on our work, on dedicating time to the pursuit of the creative life. It was a good reminder for me, that the people who get things done are the people who prioritize getting these things done.

Molly Idle reminded us that creativity can only happen in a safe space.

Dan Yaccarino reminded us that “Good work is never perfect.”

Stephen Fraser reminded us to let joy spill out into our work, because, as he put it, “Joy is the soil in which books are grown.”

Kwame Alexander - KWAME ALEXANDER, who is one of the great orators of our time and who you all need to go hear speak - reminded us that “A loss is inevitable, like rain in spring. True champions learn to dance in the storm.”

And everywhere, everywhere, I heard two themes:

One, that diversity is vital, and that representing all characters as complicated and deep and imperfect human beings who don’t easily slot into stereotypes is essential to writing not only diverse books, but all books.

And Two, that teamwork is key: not only between an author and an editor, but between an agent and an editor and an author and an agent. Communication among everyone, from the outset of the project, is an important part of what determines whether a book will sink or swim. Someone once told me that an author has to have the guts to stick up for what they think their book should be, even when the editor disagrees. But I think it’s actually more important to find an editor who won’t disagree to begin with, who truly shares your vision for the book, and then to trust that person when they say that your book isn’t achieving that vision yet and this subplot or character point might be the reason for that.

There was so much more than this. SO MUCH MORE. The conference was amazing, and I kinda-sorta-almost want to only go to this conference every year for the rest of forever. (Except I love my SCBWI CanadaEast friends, and they run good conferences too, and going to NYC to see my agent and go to a conference at the same time is probably a good idea, so I’m probably NOT going to only go to the LA conference every year forever...)

Of course, I was able to see many friends at this conference. Like my brilliant and amazing critique-partner-for-life, Lindsey Carmichael.

Lindsey at the Awards Banquet on Sunday.
Even geniuses have to eat.

But I’m going to have to save the “friends” portion for another post. I have a novel to write.

Paper Towns Challenge

YOU GUYS.

I’m in LA!

I’m here for the #LA15SCBWI Summer Conference, and I couldn’t be more excited to be here! There are SO MANY sessions... I’m focusing on craft, and WOW. Meg Wolitzer... Varian Johnson... Jordan Brown... Julie Strauss-Gabel...

*hyperventilates*

ANYWAY.

I got here Thursday night, and since I’m here for a kidlit and YA writer’s conference,  I thought the best way to spend the evening would be by watching an adaptation of a YA novel with my someone who really knows her YA.

So my critique partner, Lindsey Carmichael, and I went to see Paper Towns together.

I have to say straight out that I loved the book, and I thought the movie was an excellent adaptation of the book. Also, seeing the movie with all its elements laid out on screen - the sidekick (who happens to be black), the binge drinking, the misogyny, the Confederate Flag on a t-shirt, the Manic Pixie Dream Girl that people are arguing about (did John Green dismantle the trope, or perpetuate it?) - made me realize two things.*

One: One book cannot address All The Things, nor should it.

and Two: I don’t think it’s possible to dismantle a trope as deeply ingrained as the Manic Pixie Dream Girl.

I want to discuss Point Two at greater length with you guys, but first, you have to see the movie.

So that’s your challenge.

Some time in the next two weeks, go and see the delightful hilarity that is Paper Towns. (Seriously, it’s a GREAT adaptation.) Let me know in the comments to this post that you’ve seen it. And then we’ll talk about the mystique of the Manic Pixie Dream Girl.

*Okay, more than two things. But I’m writing this at 1:40 in the morning and two things are all I can think of right now. And two things are enough for one blog post, anyway.

SCBWI NYC '15 Redux: The Answer is Always YES

Whew!

The last two weeks have been amazing, guys. A-MAY-ZING. I can't even get into how amazing they have been right now. But I want to share a few of the amazing moments from the SCBWI Winter Conference, because spreading the amazing is something I want to do more of. Since the theme of this conference was Seven Things, I'm going to share seven amazing moments.

Amazing Moment Number One: KWAME!!! Kwame Alexander, who is so nice and generous and wonderful as a human being and as a crafter of words. I attended Kwame's session on writing diverse characters, where he showed us how much work we all have to do to overcome our own biases and preconceptions, and to overcome the stereotypes that we still cling to. (Yes, even the most enlightened of us still cling to stereotypes.) He gave a keynote in which he emphasized the importance of saying "yes" even when everyone around you seems to be saying "no". But also, he remembered me from his session, and he thanked me for coming, and he gave me a hug.

Me and Kwame. Holy Cowpies.

photo courtesy of Hilary Leung

By being who he is, he reinforced the overarching lesson from this conference and from so many other conferences: that we are all in this together, and that by supporting each other and by treating each other as equals, we all rise.

Amazing Moment Number Two: Meeting Jennifer Laughran, who is one of my agent heroes because she is so awesome and so generous online with her advice and her personality and everything, and having a moment to tell her how much I appreciate her blog, and then a split second later seeing her almost cry with happiness when she met Kwame Alexander. Pure awesome. These are my people.

Amazing Moment Number Three: Matisse before dawn.

Eeeep!

The words "The MoMA is open all night and I have tickets to see Matisse at 5:30AM!" were nowhere on my list of "Things I Expect My Friends to Say at a Conference," but they rank pretty high on the list of "Things I Am Likely to Say Yes To." I'm just glad to have friends who are as crazy as I am.

Amazing Moment Number Four: Grand Central Station during the non-rush-hour hours. The feeling of sheer SPACE - like being outside, but inside. There was even a pigeon flying around in there.

A picture of my friends taking a picture of my friends...

Amazing Moment Number Five: Hearing James Dashner talk about his first book and how it sold dozens of copies, and realizing that even though we make such a big deal of debuts, those debuts very rarely define an author's career. As someone whose projects range from bug-based non-fiction to quirky science-y superpower chapter books to edgy YA, I really needed that.

Amazing Moment Number Six: Turning to the writer next to me after Herve Tullet's talk and daring each other to re-invent the levelled reader system. To quote Kwame: IT'S ON!

Amazing Moment Number Seven: Hearing Kami Garcia talk about how she and Margie basically wrote the anti-paranormal, and thinking, I can do that. Not the anti-paranormal, because I don't really want to do that right now, but the anti-(insert genre here). I can look at all the books in a genre and say, "Okay, generally speaking: the girl is always like this; the guy is always like this; the problem always centres around this; the setting is always this…" And I can write something that is the opposite of that.

And so can you guys. So, Go Forth! Write the Amazing Things. I can't wait to read them.

(There was another amazing thing, but I said I'd stop at seven, so that will have to wait for another post.

Heh heh heh.)

Happy writing, and thanks for stopping by.

It's Conference Season! Or: How to Make Friends and Influence Professionals

It's that time of year again, guys! That time of year when we break open the piggy banks, count our pennies quarters, and figure out how many conferences we can squeeze out of our meagre writers' savings earnings!

(Seriously - we all wish we could go to all the conferences. ALA midwinter, SCBWI Winter Conference, the SCBWI Florida regional conference that just happened, but that I still wanted to attend… Right? Wouldn't it be great if we could go to ALL the conferences? But then we wouldn't have time to write anything, so I guess it works out.)

ANYWAY, since we're all planning our conference schedules - and maybe even gearing up for a conference right now? - I thought I'd post some quick "Do"s and "Don't"s for those of you who are getting ready to go to your first big conference, or who have been to a big conference before but just want something to read in the meantime. (I see you procrastinating out there. *wags finger*)

So, here we go: the "Do"s and "Don't"s of Conferencing!

DO: Research the faculty. Seriously, research them. Taking part in the Writers' Critique Roundtable Intensive at SCBWI's Winter Conference in NYC? An editor or agent is going to be sitting at your table and reading your work and listening to you give feedback to other writers. You have no say about whose table will have your name on it. Research the crap out of all of them. Get the whole list of faculty off the website, and go through it. Go to Goodreads and Amazon and check out the books they repped or edited. Figure out what you have in your Drawer of Undiscovered Treasure that might appeal to them, and bring it for your critique session. If you've been writing and polishing for a while, you might have three or four different projects that you could bring. Print 18 copies of each of them, and know which ones you plan to pull out for each faculty member's critique table. If you haven't been writing and polishing for a while, and you have but one shining gem to bring, don't sweat it. If the writing is polished, and you are generous with your feedback, and you listen, you'll get more than your money's worth out of the experience.

(I know the SCBWI website says that each faculty member can speak to all genres, but to that, I respectfully say: horsepuckies. I have been to conferences where a faculty member said something along the lines of, "Well, picture books really aren't my thing and I never read them, so I don't really know what I'm talking about, but..." Also, everyone has preferences, and they are generally pretty open and obvious about what those preferences are, because when it comes to submissions, nobody wants you to waste their time. If you look at someone's bio and all three authors they mention working with are authors of YA or MG Fantasy, that tells you something. Again, if you get placed at a table with an editor who edits Fantasy and you wrote Contemporary or an agent who reps novels and you wrote a picture book, don't sweat it. These guys are still readers. They still know a good book when they hear one, and they know how to identify what is and isn't working for them. But if you have more than one Really Good Thing, bring them all. Maximize your chances.)

DON'T: Tell them how much you researched them. Look, it's fine to say, "I read your blog. It's really helpful!" or "You edited that? I loved it!" But don't go saying, "I researched you online, and in this interview and that interview you said blah blah blah, and then I saw that you live in Anytown, and you work on Busy Street, and I couldn't help noticing…" No. You sound like a stalker. You don't want to give them that feeling.

In a similar vein,

DO: Bring Business Cards and Promotional Postcards! and Hand Them Out! Writing and illustrating are basically sitting-alone-in-your-living-room-typing-for-hours kinds of things. This is the biggest opportunity you will have in the history of ever to meet other humans who do the same thing that you do. Even if you're usually shy, handing out a business card is easy. "You're a writer? Me, too. Here's my card with all the stuff on it that I'm too shy or embarrassed to say out loud."

Publishing is a rough game. When those rejections pile up, when you've hit a wall with the mushy middle of your WiP, when you've started seeing double and speaking in tongues because the sleep deprivation has you going crazy, you will need other writers. Writers are your tribe. Find them and find ways to keep in touch with them. This starts with a business card. If the thought of making up business cards makes you break out in cold sweats, try Moo - their templates are all simple and professional and will all look amazing.

DON'T: Hand them out to the faculty. Unless they ask. Trust me, if they want to get in touch with you, they will ask. But there will be upwards of 1,000 of you and only about 25 or so of them, and can you imagine if every single person tried to give every faculty member a business card? They'd need a separate carry-on just for all that card stock.

Also,

DO: Bring something you're working on, and look for opportunities to work on it. My first year at SCBWI NYC, my roommate and I held an impromptu critique session in our room after the roundtable intensive. I've done that kind of thing every time I go to a conference since. Exchange notes; exchange ideas. This is why you're going to a conference, so take advantage of the opportunity.

DON'T: Bring your WiP and try to hand it to a faculty member. Seriously, that is just tacky. That's right up there with calling your relatives to tell them what to give you for Christmas before they've asked. Also, see above in "Business Cards" but replace "carry-on" with "checked bag". Can you imagine having to lug 400 manuscripts home with you? More importantly: let's say the positions were reversed. You just gave a breakout session to 100 people, and then they all rush to the front to give you their printed and bound 300-page documents. Would you even like those people? You'd probably think they were clueless, and that they're so pushy they'll all be hard to work with. Don't be the person that an editor thinks is clueless and pushy and hard to work with.

And speaking of your WiP:

DO: Be prepared to talk about it. Not forever, but have your pitches ready: one sentence, one paragraph, it's X meets Y, etc. People will ask you what you're working on, so pick the one thing that is your Best, Most Shiniest Thing (or just your Most Current Thing) and be prepared to answer their question when they ask.

DON'T: Actively pitch your project to any agents or editors, except at a formal pitch session. Again: tacky. And pushy. Going to conferences is exhausting for everyone, but it's more exhausting when everyone you come across is trying to sell you something. I remember one awards gala I attended: I was chatting with an editor (whom I had just met! See? Editors are nice!) about our childhood aspirations, when someone who was obviously someone she knew came bounding up to her and said, "I have a book idea for you." Her eyes glazed over. Don't be the person who makes their eyes glaze over.

HOWEVER:

DO: Strike up conversations with everyone, including faculty. Editors and agents are humans, too. They like good conversation as much as the next guy. And you already have one thing in common: a love of books! Comment on how good (or awful) the coffee is, offer or ask for advice on the best breakfast danish to try, and ask them what they're reading these days. And if they ask you what you're working on, now you can tell them. But even if they don't, you have just had a nice conversation with another human being who likes some of the same stuff you like, and they've had a nice conversation with you. Win-win. BUT:

DON'T: Tailgate the faculty. Seriously, don't follow them around. If you happen to be waiting for the same elevator, awesome. Chat about how slow the elevator is! (NOTE: The Hyatt elevators are S-L-O-W.) But don't follow them around like eager little puppy dogs. That's stressful and 360 degrees of uncomfortable. Don't whisper about them with the other people in line for the bathroom as soon as they've gone into their stall: "I think that's SuperAgent So-and-So." They can still hear you, and it's creepy. (Yes, someone actually said that to me once while I was washing my hands in the bathroom at a conference. AWK-WARD.) Don't try to strike up a conversation with them every. Single. Time. You. See. Them. Give them a friendly nod and smile to let them know you remember speaking with them earlier, and go talk to someone else so that another writer can talk to them. Keep the room moving. (Unless they seem to want to engage with you, in which case, don't run away!)

DO: Be generous. With your thoughts, your opinions, your desire to make great books and to help other people do the same. (Also, Be generous with your stuff. Bring a supply of gum, breath mints, whatever is your breath freshening item of choice. And share it. Free coffee all day, a bunch of nervous writers and illustrators who probably haven't had time to eat enough… You'll thank me later, I promise.)

DON'T: Forget to listen. This is probably the best advice in this whole post. (Well, except for the breath mint thing…)

Honestly: listen. Getting to know people means listening to what they have to say. Especially listen to any faculty you happen to meet, because whatever they offer you, they offer in the spirit of making amazing books. You might not really hear them for a few years, but listen and store it away for when you're ready to process it.

So. That's my great advice for 2015's winter conference season. Have I missed anything? What advice do you have to give? Leave your tips in the comments, and have a great conference! ALSO: I will be at the SCBWI Winter Conference in NYC from Feb 6-8. If you're going to be there too, give me a shout about that in the comments, too! Who knows? Maybe we'll end up at the same critique table.

And as always, thanks for stopping by.

SCBWI NYC 2012 Wrap-Up

Last weekend, I went to New York City to rub elbows with writers, editors, and agents from all over the kidlit world.

It was amazing. I got to hang out with my wonderful friends Helaine Becker, Mahtab Narsimhan, Maureen McGowan, Robin Walton, and Kari-Lynn Winters. I got to meet my amazing, gorgeous, ridiculously talented critique partner and friend, Antje. And I got to meet incredible people like Cassandra Clare, Sophie Blackall, and Dan Yaccarino.

I got to hear Chris Crutcher say that if you listen to enough stories, the truth starts to float, and it is that truth that you write. He was an amazing speaker, but when I ran into him at the gala on Saturday evening, I learned that he is also an amazing person.

I met and had a great chat with Lin Oliver, who is a really neat person, on top of being incredibly talented and funny and wonderful. And she read my joke out in front of EVERYBODY, which was totally awesome.

I came away inspired and bursting with ideas. I have so many great ideas, I'm having trouble deciding what to work on next. Thank goodness I'm in the middle of something - by the time I finish, something will have settled out of the mix and I'll know where to go next.

But most of all, I met this guy:

Henry Winkler ZOMG!

And he loved my hair. I have it in writing.

And that pretty much sums up my weekend.

What's going on with you guys?

SCBWI Winter Conference 2012 According to Ishta

It's two short days until the start of the SCBWI Winter Conference in New York City, and if you're in the same boat as me, you've already gotten down that suitcase and started planning your gala outfit. (Mine? Black slacks, black fitted top, and silver and black jacket. Oh, yeah.) You've read the how-to's and the Do's-and-Don'ts, and you're pretty much ready to go.

But what about the finer points, like potty breaks, where to eat, and how to get your tongue unstuck from the roof of your mouth come citique session time? Have a gander at my little list, where I'll walk you through some of the things I learned last time around.

Number One: For the restroom, look no further than your hotel room. The bathroom lines on the main conference levels are ca-RAY-zee in between sessions, so if you're staying at the venue, your own room is a much faster bet. Plus, the people who have no other option (because they're staying somewhere else) will thank you. And let's not forget the advantage of a guaranteed supply of toilet paper.

Number Two: Holy dog-doodles, if there are slower elevators than the ones at the Hyatt at conference time, then I don't know about them. Like, seriously, I think they must have a guy standing on each one hoisting them up by hand. They're great for getting up and down to your room (even at potty break time), but for the love of print, to get from Breakout Session A to Breakout Session B, use the stairs or escalators. MUCH faster. (Unless you HAVE to use the elevators, of course. Wheelchairs on the stairs are obviously not a good idea.)

Number Three: The person who told you you could switch breakout sessions with your roommate is a liar, liar, pants on fire. They've got a list at the door and they're keeping track, so don't even try. You'll just embarrass the gatekeeper, and piss off the people behind you who did their homework and signed up months ago to see that speaker and are now missing the first ten minutes while you argue with whomever is at the door. BUT...


Number Four: Sharing notes from breakout sessions with friends is totally, 100% kosher. Encouraged, even. Do it with everyone's blessing, and everybody wins.

Number Five: The surrounding streets are packed with amazing places to eat; you can literally follow your nose. But if you don't feel like braving the cold, the food court at Grand Central Station is an awesome place to chow down! The Spanish food place is super good. Just...

Number Six: Avoid the washrooms at Grand Central Station. Anyplace that has signs limiting teeth brushing to five minutes* isn't the place to be doing Mother Nature's business. See Tip Number One.

Number Seven: Another must-do at Grand Central is the whispering gallery in one of the hallways: you stand at one corner of the intersection, your writer-buddy stands at the other, and the domed ceiling carries your whispers to one another's ears. Pretty neat-o.

Number Eight: The critique sessions aren't just about you getting feedback. They're also about you offering your best, well-intentioned feedback to others. Those editors and agents aren't just interested in your pages: they're interested in you. So be generous, and give as you would like to receive.

Number Nine: Plan meeting places WAAAAY ahead of time. Like, now if you haven't done it already. And be specific. "The entrance to the Ballroom" won't cut it, because there are several of them; "The corner of the fountain in the lobby closest to the elevators" probably will.** Think 2,000 people, guys. It's busy in that there hotel.

Number Ten: Have business cards and a warm handshake at the ready, and be prepared to make friends. The people you will meet are all kinds of awesome - people who make books for kids are some of the nicest, most generous people in the world. Say hi to everybody, introduce yourself, and have a great time.

See you there!

*I have real photographic evidence of this.
**But you can't have that corner - that one's mine.

Revision With RJ Anderson

Earlier this month, I had the enormous pleasure of attending SCBWI Canada East's fall conference in Ottawa, where I met literary agent Susan Hawk (who was super helpful in her talk about queries and what makes them work), Scholastic Canada editor Sandra Bogart Johnston (whom I had met previously at the TD Awards, but I didn't have my glasses on that night because I'm a dork (yes, it's true), so I only sort-of recognized her, but she was VERY gracious about it!), illustrator Ben Hodson (who I think is the most versatile illustrator I have ever met), and a whole whack of other people.

And I had my arm in a sling the whole time!* So I couldn't even come on here to blog about it until just now! But believe me, you wish you were there.

On Saturday, RJ Anderson, author of SPELL HUNTER and two more books in that series and of ULTRAVIOLET, out just now, as well as another upcoming series, talked about revision. More specifically, she talked about the difference between true revision and tweaking, which is what most of us do when we think we're revising.

I can't go into the details of what RJ said - for that, you just need to go hear her talk about it. But the one thing she said that resonated with me the most was that revision is exactly that: it's a re-VISION. I's seeing your MS in a new way.

So, onward, faithful blog-readers. Listen to that voice in your head that is telling you that something isn't quite there. Have the courage to truly revise your work. And if you ever get a chance to hear RJ Anderson talk in person, do it.

*See the asterisk at the bottom of Monday's post.

Wisdom on Wednesdays: On Friendship

I just came back from an amazing weekend at the SCBWI Canada East Writers' Retreat and Conference in Niagara Falls. Yeah, I know. AMAZING, RIGHT?

Not only were the workshops practical and useful and incredible, but so were the critique sessions. And the fact that there was even time scheduled in to take the critique into consideration and work on a revision.

But the best part was the people. Eating meals at the same table and talking about everything but writing; laughing our way through who knows how much wine and cake; holding each others' hands in the hallways while we sweated bullets over our impending critique sessions; and being there for each other in the hallways as we came out afterwards, our minds swirling with new ideas and uncertainties, reassuring each other that "you'll figure it out."

Yes, you have to make room for the writing. But don't do it at the cost of forging bonds with other writers. We hold each other up. Individually, we are all a mess: overworked, undernourished, living off a steady stream of caffeine and the pure adrenaline rush of creating. But together, we can make miracles happen.

SCBWI New York 2011 Wrap-Up

Last weekend was awesome. It was crowded; it was packed with great sessions; it was inspiring. There was networking and critiquing and soaking up of information. But most of all, there was the feeling of camaraderie that comes from being surrounded by others who share the same goals, and struggle through the same pitfalls.

And there was one underlying message: it's about the work. The writing, the crafting, the revising until you've found just the right words, the prefect turn of phrase, the scene that will mark the turning point in your story. Sure networking is important, bonding over irregular sleep patterns can make us all feel better about what we're giving up in order to achieve our dream of a published book, and developing tables to track every book sold by your dream agent or every book edited by that editor you clicked with feels really productive. But at the end of the day, what I heard from everyone, what every keynote speech came down to, was this simple truth: it's about the work. Because without the work, all that other stuff doesn't really mean anything anyway.

So, that's my takeaway. How about you? Were you there? What was the main thing you got out of the conference?

Re-Post: On Critique

I'll be attending the Writers' Intensive sessions at the SCBWI Winter Conference this Friday (and while the writers' intensive is full, you an still register for the rest of the conference), and I'm looking forward to the opportunity to get and give some in-depth critique. In light of that, I dug up this post from last August, which pretty much sums up my feelings about the whole process. Enjoy.

When I first started writing with the goal of eventually getting paid for it, I thought this meant that I'd be doing lots and lots of writing. I was right, in a way - I am doing lots, and lots, and LOTS of writing. But there's something I do even more of than that: critiquing. The art of giving and getting feedback is an integral and essential part of being a writer, and lately, I've been doing a lot of both.

And it is an art! In the past few days, I've been reminded of a couple of the finer points. Namely:

- Modesty. No-one is the be-all and end-all of publishing, and nothing grates more than critiquers who think (or sound like they think) they are. Your opinions are only your own, and it doesn't hurt to say so in your feedback. Equally, don't ask for critique when what you really want is praise. Which brings me to:

- Readiness. The person who asks for feedback and then argues with their critiquers will not have critiquers for very long. If you're still so attached to your manusript that you can't see how someone else's ideas can improve it, then you're not ready to receive critique. Which brings me to:

- Generosity, or as I like to say to my kids, "Do Unto Others". Offer honest critique, and you will get honest critique. Don't ask for feedback unless you're willing to reciprocate. Which brings me to:

- Moderation. An avalanche of edits, however well-intentioned, is still an avalanche. Choose the most important, most glaring things to point out. Too much negative can be overwhelming. Which brings me to:

- Balance. No manuscript, no matter how awful, has nothing redeeming about it. Find the good in each piece, and praise it.

Now, go forth and critique!

And thanks for stopping by.

Start Spreading the News...

Is anybody else planning to be at the SCBWI Winter Conference in NEW YORK January 28-30?

Find me. I'll be the 5-ft short lady with the huge hair. Or better yet, tell me here if you'll be there, and we can find each other.

I. Can't. WAIT.

On Critique

When I first started writing with the goal of eventually getting paid for it, I thought this meant that I'd be doing lots and lots of writing. I was right, in a way - I am doing lots, and lots, and LOTS of writing. But there's something I do even more of than that: critiquing. The art of giving and getting feedback is an integral and essential part of being a writer, and lately, I've been doing a lot of both.

And it is an art! In the past few days, I've been reminded of a couple of the finer points. Namely:

- Modesty. No-one is the be-all and end-all of publishing, and nothing grates more than critiquers who think (or sound like they think) they are. Your opinions are only your own, and it doesn't hurt to say so in your feedback. Equally, don't ask for critique when what you really want is praise. Which brings me to:

- Readiness. The person who asks for feedback and then argues with their critiquers will not have critiquers for very long. If you're still so attached to your manusript that you can't see how someone else's ideas can improve it, then you're not ready to receive critique. Which brings me to:

- Generosity, or as I like to say to my kids, "Do Unto Others". Offer honest critique, and you will get honest critique. Don't ask for feedback unless you're willing to reciprocate. Which brings me to:

- Moderation. An avalanche of edits, however well-intentioned, is still an avalanche. Choose the most important, most glaring things to point out. Too much negative can be overwhelming. Which brings me to:

- Balance. No manuscript, no matter how awful, has nothing redeeming about it. Find the good in each piece, and praise it.

Now, go forth and critique!

And thanks for stopping by.

FREE WRITERS' CONFERENCE!

That's such an overused ploy, isn't it? Dangling a carrot like that just to get your attention? So mean and shallow of me.

But it's TRUE!

WriteOnCon is a free, online childrens' writers' conference from August 10-12, 2010. It's scheduled to take place outside normal working hours, so it's even do-able for the nine-to-fivers among us, and it boasts an agent and editor line-up that has me breaking out in cold sweats of excitement and fear. Most boards are closed until the conference opens, but there is a critique board that is absolutely humming for those of us who want to polish up our work a bit ahead of time.

Did I mention that it's free?

So go register, already!