FLYING HIGH WITH SCBWI SOUTHERN BREEZE: Guest Post for Sherri Jones Rivers by Cathy C. Hall

     I wasn't able to attend the recent Springmingle Writers' Conference in Decatur, Georgia, but my dear writing friend, 
Cathy C. Hall was able to, and she has graciously committed to giving the GROG a recap of this wonderful conference. Southern Breeze's regions includes Alabama, Georgia, and the Florida panhandle.

                                     Here's Cathy's report:

                                                

     We just wrapped up Springmingle, my Southern Breeze's SCBWI Conference, and I'm still soaring from the wonders of that experience! The camaraderie of all those kidlit writers and illustrators, the warm and witty speakers, the reams of writing information...honestly, my brain is buzzing still. The same way it buzzed back in 2009 after my first Springmingle.

     I had joined SCBWI in January and noticed that the spring conference in my region was right around the corner.  Gee, I thought, it's just around the corner from me; It'd be a shame not to go. On the other hand, I had all of one children's manuscript under my belt, and a very short (and messy one) at that. Was I even a kidlit writer? And would I know any of the writers in my region.

                                                        

    I went anyway. And I was hooked on what they were selling at the very first conference. Not that SCBWI is selling anything. They're giving away support--in the people you meet, the speakers that inspire you, the knowledge you gain...and I needed that.

     Heck, I still need it. So, I've been going to conferences ever since. And I always come home exhausted but rejuvenated, with tons of new friends, including editors and agents in the children's publishing industry.

     Take Patricia MacLachlan.  We were fortunate enough to have this Newbery Award winning author of Sarah Plain and Tall. And she is wise and funny, down-to-earth and full of stories--exactly what you'd expect from a prolific and well respected author. But, mostly, she is inspiring, though I suspect she'd pooh-pooh that. She started her presentation by telling us that she is blind (she is not completely blind, but her eye-sight is sorely compromised) and that she'd written a picture book just that morning while in the bathtub. See what I mean? If Patricia MacLachlan is still hard at work like that, I better get going!

                                                                         
                                    Jacquelyn Mitchard and Patricia MacLachlan


     And Jacquelyn Mitchard, author of the New York Times best-seller, Deep End of the Ocean. She's the editor of Merit Press, a YA imprint with Simon and Schuster and she desperately wants to see terrific literary YA. She, too, is funny and smart and generous and inspiring. She gave the writer's intensive the day before the conference and if you have the chance to attend one of her classes, come prepared to write--and learn from your writing.

                                                    

                                                                         Friday Intensive Workshop
                                     
Mostly, though, I was interested in her keynote, Writing Through Hard Times, because, Lord knows, like Mitchard, I've had my share of hard times lately. You want to know what she advised?

     "Just write," she said. "Write every day. It doesn't have to be great, or even good, but get ten pages. Just keep going."

     Now, I'm not sure I pushed out ten pages every day during happy times, but I got her point. If you're going through tough times, writing can sustain you. And before long, the writing will get better. Just write.

     Inspiration, the support of your tribe--that's what makes SCBWI conferences worth the price of admission. That and the opportunity to submit to the speakers who attend the conference. Which brings me to my last tip: follow through on the connections you make!

     I'm not gonna lie: I was the worst offender when it came to following through after the conference. I had the best of intentions but I never...quite...got around to sending that query or submitting that manuscript in a timely manner. But you really must! Agents and editors go to a lot of conferences. If one has expressed interest in your story, your artwork, or representing you, make your investment pay off and contact that agent or editor within a couple of weeks while he or she still remembers you. When I finally followed through with the lovely Karen Grencik after Springmingle '15, I signed with Red Fox Literary within a month of the conference. It can happen for you, too, but first, you have to go to the conference.

     So, come on y;all! Grab your manuscript and fly with me at Southern Breeze! (Or any SCBWI conference.)SCBWI

     Cathy C. Hall gets around in both kidlit and adult markets. You'll find her byline in the Uncle John's Bathroom Reader series, The Atlanta Journal Constitution, and plenty of Chicken Soup for the Soul books. And if you happen to be in Korea, look for her children's titles from Darakwon Publishing. She's like the Where's Waldo of the writing world, only way better dressed.

    And a big shout-out to A.H. Taylor, Southern Breeze photographer, who supplied the photos.A.H. Taylor

The Asian Festival of Children's Content 2016 by Tina Cho

My first ever writing conference happened in Singapore at the Asian Festival of Children's Content May 25-29th. I was only able to attend May 24th - May 25th because my other job is a teacher at an international school. 

The AFCC is "an annual festival in Singapore that celebrates and promotes the creation and appreciation of children's books and content, with a focus on Asian themes." 

May 24th was the awards ceremony for the Scholastic Asian Book Awards in which my novel manuscript was shortlisted and won 1st Runner Up. I was honored to shake the hand of Singapore's Parliamentary Secretary of the Ministry of Education. And I was even more honored that the renowned U.S. historian and author Leonard Marcus was the chief judge who read my story! 

Me, Leonard Marcus

Sessions I attended and a blurb about each:

• From Comics, Graphic Novels, and Picture Books to Fusion Texts by Dr. Janet Evans: She explored books that entwine elements of the three mentioned genres into a fusion book which allows controversial texts for younger children. Ex. The Wolves in the Walls by Neil Gaiman

• On Translation by Cathy Hirano: An excellent session by an American who has lived in Japan for many years and translates books. She explained why translated stories are crucial to understanding culture and why translated books are needed. She also explained issues in translation. I'll blog about this more later.

• The Editors Are Your Best Friend Panel Discussion: Sarah Odedina (Editor-at-Large for Pushkin Press and editor of Harry Potter books England), Daphne Lee (editor Scholastic Asia), Andrea Pasion-Flores (agent Jacaranda Agency Philippines): This panel discussed all things editing--what drew you to editing, publication process, what are you looking for. Perhaps more later in a blog post.

• What Makes a Book Award Worthy: Leonard Marcus (U.S.), Dr. Murti Bunanta (Indonesia), and Deborah Ahenkorah (Ghana): Compared Newbery/Caldecott with Africa's Baobab Award and more. I'll definitely blog more about this one with criteria that make an award-winning book!

• Tackling Novel Revision by Holly Thompson (Japan SCBWI R.A.) She shared her tips for revising your novel.

Cynthia Leitich Smith (L), Holly Thompson (middle), Andrea Pasion-Flores (Rt)

• First Pages Critique: I was brave and submitted 100 words of a picture book manuscript. It was so fun to hear Australian author Christopher Cheng read my words out loud with his wonderful accent. And the popular Cynthia Leitich Smith (U.S. author) and Holly Thompson (Japan SCBWI R.A.) and Andrea Pasion-Flores (agent Jacaranda Philippines) critiqued it live. 

I'm so glad I went but hated having to leave early. Like everyone says, attending a conference is so wonderful with the connections you make and book deals you walk away with! (Yes, Scholastic Asia wants to publish my novel.) 

Six Reasons Why Nonfiction Writing is Easier Than Writing Fiction by Pat Miller

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Well, maybe not easier. But I've written both, and I discovered a number of things that make nonfiction more writer-friendly. Here are six of them:

1. Curiosity comes first. When you observe a baby, you see someone motivated by curiosity. Once his basic needs are met, it’s what drives him. Where’s that sound? What’s that red thing? Who is looking at me? Curiosity leads them to put everything in their mouths, to roll and crawl and observe. Imagination kicks in years later when they are capable of thinking things like, “I wonder if there are unicorns on the moon.”

As a writer, I find that my curiosity is easily aroused. Were the Dodge brothers really as competitive as the car commercial implies? Do some people have more taste buds than others? Who discovered aspirin? What say you, Imagination? *crickets*

2. The ideas are already "out there". Whereas fiction writers have to nourish the tender sprout of inspiration, nonfiction writers need pruning shears to shape the lush growth of information that is readily available.

It's part of human nature to preserve things for posterity. From hoarders to curators, mankind saves things, and saves words. You can find books, letters  and journals from prior centuries. There are billions of  historical photographs, census records, deeds, and obituaries to access from your home computer. There's the realia from bygone days--spoons to carriages, bonnets to armor, skeletons, sculpture, homes. You can see and touch what it is you write about.

3. Experts are eager to help do the work. You don’t have to know what you are talking about. Part of research is to find someone who does. Whether you are interested in the life cycle of the pika or the invention of indoor plumbing, there is likely an expert delighted to share her information with you. Medieval dress, nineteenth century medicine, Inuit burial customs--someone is passionate about it.

When I was researching the mariner who invented the hole in the doughnut, I got help from librarians, maritime history professors, docents at a maritime museum, and newspaper archivists. Don’t forget interest groups, re-enactors, documentaries, and restored homes, shops, and battlefields. You aren't alone with the blank page. Visiting these places and experts leads to a bonus for nonfiction writers--tax write offs!

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4. Experiences and experiments count! Did you try parasailing on your honeymoon? Have you spent three consecutive days in the Smithsonian aviation museum? Do you have a passion for throwing pots, windsurfing, or making doll furniture? You can write about your interests. Keep a journal on your Nile trip, follow up on something you heard about DNA and tracing ancestors, or interview kindergartners about their opinions. It’s all fertile ground in which to grow a true book.

5. Mentor texts often have “cheat sheets”. If I don’t know where to begin my research on a topic, I find a book on the subject in my children’s library. Not only is there useful content, but the author leans in and whispers to me, “Look in the back—I left you a road map.”

Here she may have included a list of books and sites she used to write the book. Write those down! She may thank her experts in her acknowledgement page. Could I start with one of them? Her list of photo credits may lead me to resources for my own work. No need to ask who can help. Your competition is often willing to help!

6. Editors are begging for nonfiction. Even if you are able to create a wonderful fiction story, you face formidable odds. Many worthy fiction titles go unpublished simply because of the numbers of competing manuscripts. But thanks to the insatiable curiosity of children, Common Core demands, and curriculum topics, publishers are clamoring for quality nonfiction of every stripe. According to Peggy Thomas, co-author of Anatomy of Nonfiction, you are eight times more likely to be published in nonfiction than fiction. Besides the trade market, there is the huge educational market.

Even if you consider yourself a fiction or poetry writer, try your hand at an engaging biography (no need to invent the characters!) or some poetic science. Exercise your curiosity as well as your creativity when you sit down to write. It’s easy!

Pat Miller is author of two dozen books for school librarians, hundreds of professional articles, six books for kids, and is organizer of NF 4 NF: Nonfiction Conference for Children's Writers coming in September, 2015. Find out more about the conference . 

Writing Conference Critiques ~ by Patricia Toht

I'm a writing conference junkie, and I try to attend a few each year. Conferences offer a chance to see old writing friends, meet new ones, and learn from brilliant faculty. Often they also include an option for a manuscript critique. 

Photo by Jeffrey James Pacres, Creative Commons license

I've signed up for a critique at the Illinois-SCBWI conference next month, so now I'm faced with a decision -- which manuscript do I send? Well, I can tell you one thing.  I'm not sending my best work.

Photo by Tim Simpson, Creative Commons license

"WHAT?!" you may think. "Are you crazy?" 


Hold on. 
Let me explain.



The choice of which manuscript to send was easy for the first conference I attended. I only had one story in the stable. 

But soon I had several. For the next conference, I sent my very best. The story my critique group felt was "ready to go". The one I had polished to a fine shine. I imagined an editor seeking me out in the crowd, throwing arms around me, declaring "I WANT YOUR BOOK!"

Photo by Matt Herzberger, Creative Commons license

Yep. Delusional.

The written critique I received was kind, yet not very helpful. I loved my story and I hoped the editor would love it, too. It was well written, but I already knew in my heart that the manuscript was too quiet for the market, and that's exactly the feedback I received. 

Nothing was gained. I had wasted an opportunity because I had mistakenly viewed my critique as a sales vehicle rather than the chance to get feedback from a professional. 

Now, I'm not recommending that you send a first draft. But perhaps you have something that your stuck on? A piece that your critique group can't seem to connect with? A story that could use a fresh set of eyes? Send that! Use this opportunity to learn. Unlike a submission, you are guaranteed to get feedback.

You'll still have your sales opportunity. You can submit to this same editor, as well as the others on faculty, after the conference. But you'll be submitting the new and improved version of your work.

Here are a few more tips on conference critiques from two Illinois-SCBWI reps, Lisa Bierman and Sara Shacter:

• Bring a copy of your manuscript with you to a face-to-face critique. And come with questions.

• When talking with the editor/agent, communicate that you are wide open to advice (even if it's hard to hear!). It's all about having an open dialogue.

• A written critique is often inserted into your conference folder. Resist the temptation to look at it immediately! Instead, focus on learning as much as you can from the day's sessions.

• Tuck a written critique away for a few days and come back to it. Looking at it later, it won't sting as much and it will be easier to observe it objectively.

• Keep a copy of your pre-conference manuscript. After you've made suggested changes, look at both versions to see what works.

• If you receive a helpful critique, let the person know! Thank you cards are good.

Do you have any other conference critique advice to share, GROG readers?

IS YOUR CRITIQUE GROUP RIGHT FOR YOU? ~ Jackie Wellington

So you spent months, even years, slaving away at a manuscript. You picked the right hook. Your first line is enticing. Your beginning set the stage. You jumped straight into the scene because you heard that's what agents want. You built your character with strengths as well as flaws. (You even contemplated whacking them off at the end. )Your plot is strong. Conflict is established - man versus man, society, nature, or self. The arc strikes an emotional response from the reader. Finally, a satisfying ending.

You revised over and over. Now what?

If you are not in a critique group, it is time to find one. Why? It's simple. It is an important component to your writing success. Critique Partners (CP) can help you find the faults in your draft and polish your work so it is ready for query status.

How do you choose the right critique partners?  

Do not find the "caterers." Those are the ones who cater to your feeling. The ones who tell you what you want to hear versus what you need to know. The one who is afraid you will break down and cry your poor heart out so it is easier to stroke your ego. Family members are out unless they made millions selling novels or have won major writing awards. Your family love you. They will not want to hurt your feelings. You want honest feedback. You want to know what it is you are doing wrong. You want the opportunity to correct it and make your manuscript marketable and saleable.

I have been in a few groups. At this time, I have some great critique buddies. I have the kind of buddies that tell me how to make the manuscript better. I also have some readers that I can send my manuscript to and get immediate feedback. But this all started because I build relationship. Critiquing is about building relationships.

If you are in a group where the members are always bickering, do yourself a favor and leave. Negative energy drains your creative spark. Establish rules from the beginning. Treat others the way you want to be treated. And be respectful of all time. Writing is not easy. And we all can benefit from love and support.

How do you find the group?

* Check various social media sites. WOW Nonfic on Facebook have critique groups for picture book writers. So check within other groups to see what they have available.

*Writing Conferences. After the WOW Retreat 2014, I came home with new friends and a boatload of critique buddies. The connection I made with these ladies was unbelievable. Now I always have someone to read and give feedback if needed.

*Writers Associations have local chapters in your area. Give them a call. Find out when and where they meet. And if they do not have one, you start it.

In summation, think about your critique groups. Are they beneficial to your writing? Do the members of your group write in your genre. Think about it. If you write picture books and your critique group are young adult authors, this group may not be right for you. Picture book writing and young adult writing are not the same. In picture books, every word counts. In young adult, you have more words with which to play. So now and find the right group. Let us know if your group is right for you.

Fiction vs. Nonfiction: Must a Writer Choose? by Pat Miller

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Unlike being engaged or voting in a primary, writers don’t have to choose just one. In fact, writing fiction can well equip one to write nonfiction. On the flip side, writing fiction can give nonfiction writers freer rein with their creativity.

Here’s how it works. Fiction writers can craft true books that use a story arc, character development, and dialogue to explain historical, scientific, or biographical topics. The difference is that everything is true. Creating characters solely from imagination exercises the part of a nonfiction writer’s brain that is the source of the lyrical language that can make nonfiction compelling.

Since there are so many of us fiction writers, let’s examine other benefits of writing true books. Nonfiction success can counteract the many rejections of one’s fiction. In Anatomy of Nonfiction: Writing True Stories for Children, Peggy Thomas states you are eight times more likely to be published in nonfiction than fiction. That means 1/8^th the rejection letters, 1/8^th the pity parties, and 8 times the confidence in one’s abilities! That confidence can help sustain the fiction writer who persists in the bruising submission process.

Bonus--you get a head start with nonfiction. According to biographer Jean Fritz, “[Writing nonfiction] is not a matter of coaxing up a story, but of perceiving the story line that’s already there.” If you're one who delves into your imaginary characters so deeply that you know their secrets, their songs, and all their uncles, then you are a natural for researching real facts about real people. Instead of plumbing your imagination, you will search through resources that are both interesting and addictive.  And unlike fiction, you will have experts, librarians, and enthusiasts who will eagerly help you on your quest.

From Peggy Thomas: “Nonfiction is a simple beast, really. In its most basic form it consists of a skeleton of accurate information, the flesh and blood of story, the heart of the writer, and the muscle of marketing.” If you write fiction, you already have three of these four tools in your toolbox.

Peggy continues, “Your job as a nonfiction writer is to raise your antenna and tune in to the true 

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 stories that exist around you.” Unlike rubbing the genie lamp of imagination, hoping a story will wispily appear, the writer of true stories has merely to practice alertness to find things to write about—even topics already on the shelf. “A subject may have been written about, but not by you—not with your ideas, and not from your perspective.”

When you write fiction, you do your research between your own two ears. Since nonfiction happens here on our planet, lots of evidence and details are readily available. There are primary sources like journals, legal records, manuals, and letters. There are museums and restored habitations, aquariums, zoos, galleries, newspaper morgues, recordings, and online resources. These provide settings, characters, dialogue, and problems that you don’t have to imagine. And there are passionate experts only too willing to help you flesh out or vet your stories.

So you don’t have to choose. You can do both. If you write nonfiction, or are considering it, I have two suggestions:

1. Read Peggy Thomas’s Anatomy of Nonfiction. I read every page while working on my first biography. I credit her inspiration and practical techniques for its acceptance by Houghton Mifflin Harcourt for publication in 2016.

2. Participate in the NF 4 NF Nonfiction for Children’s Writers Conference on October 9 – 12. Peggy Thomas will present three of the 16 sessions and offers critiques. Peggy’s sessions include “The Heart and Voice of Your Story”, “Research Techniques That Get to the Facts”, and “Biographies: Making Friends with Strangers”. Be sure to bring your copy of Anatomy of Nonfiction to be autographed.

Learn more about the stellar faculty, the schedule, location, and social events at the site. Register today—Early Bird rate ends September 1.