Showing posts with label Kara Laughlin. Show all posts
Showing posts with label Kara Laughlin. Show all posts

Wednesday, May 27, 2020

Premise Palooza! Generating Great Story Ideas


by Julie Phend

What’s a Premise Palooza?

Premise Palooza is a fun idea for creating unique story concepts invented by my critique group: authors Kara Laughlin, Joyana McMahon, Amy Tern, and myself, Julie Phend.  

Last December, we were all completing long-term projects. This can be a discouraging time for a writer—after years of commitment to a novel-in-progress, your heart can sink if you’re not sure what to tackle next. So we decided to skip traditional critiques that month and concentrate on creating memorable story premises. Our quest became Premise Palooza.

How Does Premise Palooza Work?

In fiction, a premise is defined as a one-sentence story concept that includes a protagonist, a goal, and a situation. For our challenge, we agreed to do the following:

  • Spend 15 minutes each day brainstorming premises. 
  • Not censor any ideas.
  • At the end of the month, choose our 10 most promising ideas and write a pitch paragraph for each.

To keep ourselves accountable and bolster morale, we emailed weekly to report our progress. We had some good laughs as we shared a few of our zanier ideas.

Each week, we took turns being in charge of prompts to stimulate creative thinking. We found three techniques to be particularly useful. Here’s how they worked:

Daily Prompts: 

Each night, the prompter sent three random prompts, which could be used together, separately, or not at all.

Examples:
  • A gummy advent calendar, A cross-country train car, Mardi Gras
  •  A secret underwater laboratory, Enemies forced to work together,    National Pun-off
  •  New Year’s Eve, An abandoned mine shaft, A secret

Prompts became especially helpful as the month went on and our personal idea wells began to dry up. We discovered that a prompt generated by someone else often sends you in a direction you would never have gone on your own.

A Page from Julie's Notebook

Borrowed Premises: 

Here, the challenge was to take classic premises from books or movies and retell or update them. This strategy yielded some great story ideas.   

Examples:
  • An update of the Scarlet Letter where a kid is forced to wear a C for cheating
  • A Christmas picture book based on Elf in which the family dog (instead of the baby) climbs into Santa’s sack. 
 

Chain Premises:  

This technique involved taking an existing premise—either our own or someone else’s—and changing one element at a time, resulting in a long list of permutations.

 We all liked this exercise and were often surprised at where we ended up. We felt it really pushed us to be creative—and it was fun because it produced new ideas quickly.

Amy shared a chain sequence that began with a borrowed premise. She said, “My 11-year-old son helped me brainstorm. We wrote down absolutely anything that came to our heads, no matter how silly, as you can see by the examples below.”  
(The premises marked with an asterisk * were generated by Amy’s son.) The original idea comes from “Robbie,” a short story by Isaac Asimov.

1.     Asimov’s premise: Busy parents hire a robot babysitter—but worry when the child gets too attached.
2.     Busy parents hire a robot bodyguard, but worry when the bodyguard turns out to be a coward.
3.     Busy parents hire a robot bodyguard, but worry when the child destroys him during a temper tantrum.*
4.     Busy parents hire a dragon babysitter, but worry when the child gets scared.*
5.     Busy parents hire a dragon babysitter, but worry when the child starts breathing fire.
6.     Busy parents hire an alien babysitter, but worry when the child starts growing a third eye.*
7.     Busy parents hire an alien cook, but worry about the ingredients of the food.
8.     Busy parents hire a dragon cook, but worry when the food is charred.
9.     A kid and his parents are kidnapped by a dragon and forced to babysit a dragonet.*
10.  A kid and his parents are hired by Santa Claus to babysit the elves.*

Testing our Ideas:

At the end of the month, we each wrote pitches for our most promising ideas and gave each other feedback. We also shared them with the children in our lives and asked which stories they’d most like to read. It was fascinating to learn which premises children of different ages liked and why.

Was it Successful?

Amy Tern
I asked the group to comment on their Premise Palooza experience.

Amy: There was something magical about putting all other writing aside and focusing exclusively on generating premises for a solid month. I wrote more than I ever thought possible. 
Kara Laughlin

Kara: It kept me writing during a time of year that typically sees me away from my desk.


Joyana: It was fun to focus on exercising the idea-generating part of my brain without inhibitions. No idea was a bad one during the process.

Joyana Peters McMahon
Julie: I’ve always been a writer who grabbed the first idea that came into my head. This challenge pushed me to stretch my thinking and become more creative.   

Brainstorming premises is clearly a lot of fun. But does it yield valid story ideas?

We all felt that it did. Two of us are currently writing stories based on the challenge, and we’re all excited to have to have a well of story ideas to draw from when we need them.

Julie Phend
Overall, Premise Palooza was great fun, freed our creativity, bonded our group, and generated a ton of ideas—all during the usually less-productive month of December.

Try It!  

So, if you’re looking for a way to spark your creativity, grab a group of friendly writers and organize your own Premise Palooza. Maybe a Pandemic Premise Palooza is in your future.










 








Wednesday, May 15, 2019

Work-for-Hire: The Joys and Challenges from One Writer’s Perspective


Meet Kara Laughlin, Children’s Nonfiction Author
By Julie Phend

Kara Laughlin with her books  Photo by Jim Ferry


Kids love fact-filled books they can read themselves! While these books are a huge piece of a young child’s reading experience, their authors often go unsung because the publisher has contracted them as work-for-hire.

Meet Kara Laughlin, who has been writing books for children on a work-for-hire basis for the past ten years. Kara is the author of over fifty nonfiction children’s books, including Sparkle and Shine! Trendy Earrings, Necklaces, and Hair Accessories for All Occasions, a series called In the Deep Blue Sea (as Juniata Rogers), and Guitars and Recorders.  

I asked Kara to share the joys and challenges of her work and give us some advice on how to get started in this field.



GROG: How would you define contract writing?
KARA: Contract writing, or work-for-hire (WFH) is when a publisher hires an author to do a specific job for a flat fee, which pays for the work and all rights. For me, contract writing has meant the publisher tells me about a project they’ve designed. Sometimes they give me sample texts to emulate. Other times, they specify what they’re looking for in a contract or spec sheet. All of my work has been in nonfiction, but there are WFH opportunities for fiction writers as well.



GROG: How did you get your start?

KARA: In 2009, an online friend needed to turn down a book contract from a publisher who wanted someone to write about craft for children. I had a craft business, so I got in touch. I didn’t get the job. A year later I got an email from an editor at Capstone Publishing, offering me the opportunity to write craft books for them. They’d saved my name all that time!



GROG: What topics and age groups have you written about? How many books have you published?

KARA: I’ve written for all ages from tween to kindergarten on a broad range of topics: animals, weather, sports, crafts, and most recently, a set of phonics books. I have 52 books currently published, plus two coming out this fall, and a contract for six more. When I started, my husband joked that someday I’d be the author of 100 books. I laughed. Now it looks like it could happen.



PROS AND CONS

GROG: What are the particular challenges of WFH/contract writing?

KARA: It can be a lot of work—and if an editor wants changes, you have to make them. You work under tight deadlines, which you absolutely must meet, and you have to write according to the brief, so there’s not much room for creative flights.
It’s also important to write to the specified reading level, and it can be difficult and time consuming to distill down complicated information using one- and two-syllable words. But that’s a challenge I find satisfying. 

You have no control over the final product. A couple of my craft books arrived with completely new projects swapped in, and there was nothing I could do about it. 

On a personal level, I sometimes let contract work get in the way of my own creative work. And I get the impression that, in some circles, this kind of writing "doesn't count." It's not a high status or glamorous gig. 

GROG: What are some of the joys/satisfactions?

KARA: There are so many!

It's thrilling when I find the perfect way to explain a difficult concept in five one-syllable words. It can lead to moments of poetry. That's what this writing reminds me of most--formal poetry. You have all these constraints, but they force you to find creative solutions. And that's so satisfying!

I also love learning about new things. Sometimes, I annoy my family with trivia from my research. I wrote a series on sea creatures, which led to some pretty interesting dinners as I talked about all the brutal and disgusting ways invertebrates hunt for and eat their prey.  

But I think the real reason my heart leaps up when I see a new contract is that this work feels important. There was a moment when I realized, “Some first-grader is going to pick this book up, and it might be the first time s/he learns about this topic.” That feels like a profound, meaningful way to spend my writing time.

The best surprise is when a child excitedly says, “I read your book! I got it from the library!”



GROG: How can a writer break into the WFH market?

KARA: Many school/library publishers are open to working with new writers. Check their websites for how to apply. Usually, they want a resume, cover letter and writing sample. The sample doesn’t have to be published, but it should be appropriate to the age you want to write for, and in a subject you are qualified to write about.



I GOT THE CONTRACT—NOW WHAT?


GROG: Talk about what to do when the contract comes.

KARA: The first thing to do is to sign the contract and send it back to the editor. Often your contract will pay you 50% on signing and 50% on completion. If so, you should send an invoice right away.


Then, get those due dates on your calendar!


 If you have more than one title to deliver, find out if your editor prefers them spread out or all at once. If you’re contributing to a series with other authors, make sure you understand the voice they want and any structure/content issues that must be consistent. Be sure you know what age group you’re writing for.



GROG: What steps do you take to complete the assignment? 

KARA: After signing the contract and invoicing the publisher, I make a work schedule. Deadlines for this kind of work are tight. Typically, I have about three months, even for a six- or twelve-book project. I put in the due date and work backwards, making my last title “due” a week or two before the deadline. I add dates for rough draft completion, research completion, and writing the back matter.

Next, I research the subject and take notes. Usually, I learn about three times as much as I'll need, but I want to really understand the topic.

Then I write a rough draft in my own words. It’s typically twice as long as it needs to be and at a reading level far above the intended readership.

Finally, I pare it down and simplify the language, editing and re-editing until I’m satisfied.



GROG: What advice would you give writers to succeed in this business?

KARA: Be thorough in your research, and be a perfectionist when it comes to saying exactly what’s true. You can’t sacrifice the truth to your reading level or your word count. Be pleasant and on time. Publishers need to know that you can take feedback, that you’re meticulous about research, and you can write to deadline.



GROG: How can a contract writer build a business?



Photo by Lori Munro
KARA: It’s very possible to do school visits with these books. Nonfiction is huge in schools right now, and teachers appreciate having published authors come in and reaffirm what they’ve been telling their kids: choose your sources well, edit and re-edit, know how to tell truth from fiction. Because there is no royalty agreement, I charge for school and library visits. 




Getting more work from publishers is just a matter of delivering an excellent manuscript on time and putting yourself out there.

GROG: I asked Kara to recommend some resources for people getting started. Here are a few of her favorites:



Hemmingway online for real-time approximate reading level. http://hemingwayapp.com/

Rebecca Langston George has a wonderful article on considering work-for-hire: http://mandywallace.com/work-for-hire/

This list of work-for-hire publishers by Evelyn Christensen. http://www.evelynchristensen.com/markets.html She also has a great list of resources here: http://www.evelynchristensen.com/markettips.html



Thank you, Kara, for sharing your work with us!