Revising and Jamming and Finding Your Soul Story

 

Recently I attended a fantastical and inspirational hangout sponsored by Kid’s (and YA) Book Revisions Plus, hosted by Emma Dryden, Eileen Robinson and Harold Underdown. With over a hundred years of editorial experience, the three hosted the hangout to introduce the new direction for their collaboration and to gather ideas about what writers want to learn. 

Harold, Emma and Eileen

As I listened, I was very keen on the current changes happening in the business of publishing, as was everyone who attended. Publishing is a business, and now more than ever, it is a very dispiriting one.  As the discussion started, it was a relief to realize that I was not the only one who felt that perhaps my story doesn’t fit in.

As Harold introduced themselves, it became obvious that the prevailing theme of their new collaboration – as it has been through their many years of working together and as friends – that the publishing business is external from the craft, and it is open to very subjective opinions and the whims of trends. That the dreadful truth about publishing is the odds are against us.

What is discussed is a new definition, a new purpose for the revising process.  Revision is about finding your soul story.

I am reminded of a favorite idiom: find your jam.  To connect with something you prefer, desire, love.  To hangout with these three is akin to jamming, much like musicians finding their melody. The discussions focus on technique, improvisation to foster creatively, developing skills, and – most of all -- having fun.

And so it seems, revision is akin to jamming. As Eileen reminded everyone, revision allows the writer to not only come back to yourself but also to stay true to yourself.

As Emma reaffirmed,  writers write. Everything else -- everything external -- is beyond our control. Writing is an internal process. As such, we focus on what we can control: ourselves. Adapt, rethink, refocus. Take chances. Leave your comfort zone. Write something new. Write something different. Submit, and submit again. Persevere. 

Recently I returned to an old manuscript. I began working on this piece with Emma over a decade ago, about the time my book, Girls of Gettysburg (Holiday House, 2014) came out.  (Fun fact: I had worked with Harold on Girls of Gettysburg!) And through the many revisions, and even a couple of rejections, it became obvious that something was missing. O, my then-agent and an editor loved the voice, and they loved the characters, they loved the action and the setting. It was technically a good story, but something else wasn’t quite connecting. Putting that manuscript aside, I began working on something else. (Another fun fact: I worked with Harold and Eileen on this new story!) This new story also went through several revisions. I took more chances with this one and left my comfort zone. I ignored trends. With each revision, I began to sense what had been missing with the old story: myself.

 By the way, that new story, The Barbary Chronicles: The Lost Prince, will be available October 2026, published by Charlesbridge Moves!  You can find pre-order and more information here!

So returning to that old manuscript, I’m revamping and recycling, and taking some big chances. I think I get it now! Fingers crossed.

To cite another favorite idiom: We do our best and leave the rest to the universe.  

 Or, as Neil deGrasse Tyson offers much more eloquently --  and really, who else knows more about how the universe works than the mighty Tyson:

“The problem, often not discovered until late in life, is that when you look for things in life like love, meaning, motivation, it implies they are sitting behind a tree or under a rock. The most successful people in life recognize, that in life they create their own love, they manufacture their own meaning, they generate their own motivation.” -- Neil deGrasse Tyson

 In other words, we be jamming now!

-- Bobbi Miller

Don't Forget to Celebrate!

 

Recently, a friend shared his wisdom when another said that writing is hard, and asked if there was a way to make it easier. To this, my friend said, describing his approach to writing fiction, “Write it from inside the characters. Allow the characters to grow their own story and follow their lead. When it is complete and you are seeking opinions about how well you wrote it, leave your ego at home and allow the comments --- even the foolish or misguided ones --- to penetrate because they are talking about a book, not about you. Even a fool is correct once in a while! The goal is to create a work of art that will speak well of you. Any hack can cobble together 80,000 words, but most of that kind of writing can put a shark to sleep.”

Every term, my MFA students lament this very thing. I have to remind them that every writer carries similar worries at every stage of their career. In some part, it's the nature of the business itself. But it's also a function of human nature.

It seems the core of these worries are defined by a lot of shouldas and couldas, accompanied by a strong belief in several sacred myths about writing and writers.  Myths, they hope, that carry the secrets to and serve as a compass for how to succeed as a writer.

Myth: Writers only write when they are inspired.

I’m too old to wait around, hoping for some magical muse to show up. The truth is, writers write. It seems to me that curiosity is much more important.

Recently I’ve been going through a phase in which I really like Australian TV. The scenery. The intersection of history between indigenous and penal colonies. The Māori (and the Huka!). A common plot device is cricket – whether it’s baking, mystery, supernatural or comedy, there always seems to be a leather ball and a flat bat involved. To understand the context, I started researching cricket. And watching Australian cricket. (Baggy green is now my favorite color! What a sticky wicket!) This led me to research certain cricket personalities, then cricket history, which led to reading more about British colonialism. Which led to reading about the mid-Atlantic slave trade and the middle passage and the slave narratives. Which led me to Caribbean uprisings. While it sounds like a rabbit hole that Lewis Carrol might envy (and it was), I began noticing a seed for a story. This seed soon developed into a premise. Then it became a character. Then it became a draft.

More often it is through the act of reading and writing itself that inspiration finally decides to visit.

Myth: Writers are introverts.

There may be some truth to this. I prefer long walks to parties. I prefer languorous conversations with my flowers. Albeit, my granddaughter is pretty good at discussing the secrets of dragonflight. Others travel, attend literary events, participate in writing and reading groups, join online discussions. Sometimes I pop into one or two events.  Given my luddite nature, my relationship with social media is rather wobbly. (The irony that I’m writing a blog isn’t lost on me. But I did handwrite this first!) Some may be energized and go full steam into social events, while others find it exhausting. In the end, writers need diverse perspectives and connections to enrich their writing, but ultimately, it’s more important for you to be you.

 Myth: Method X is better than Method Y.

I’m a nerd about the writing process. I find it an endlessly fascinating topic. While I have more than a fair share of degrees and certificates in the writing process, I still attend classes, workshops and lectures given by the best in the business. If you have the chance, I can’t recommend enough the classes given by Emma D. Dryden, Harold Underdown and Eileen Robinson, and the many offerings at Free Expressions, sponsored by Lorin Oberweger and company, featuring such lecturers as Donald Maass, Chris Vogler and many others.

Whether it’s plotting versus pantsing, the hero’s journey versus the snowflake method, or saving the cat versus the three-act narrative, editing while you go or hammering out an SFD, everyone has their own way of engineering a story. My own process tends to follow four steps:

1. Research to get an overview of historical and social contexts. Besides, I like to read. You never know what treasure you’ll find.

2.  Outline, because I tend to work with a cast of characters as well as historical/social elements that require careful staging.

3. Write that SFD, usually by hand first.

4. Revise, then revise again, then revise again, because this is where the real magic happens.

What makes it work for me is that I set time apart for my writing and treat it like a job. I know how busy life becomes, having worked as a single parent maintaining a household. But it is still my job to write.

Myth: Writers are excellent spellers.

Yea. Right.

Myth: Writing is easy.

Does any of this sound easy?

Just as an engineer relies on a structurally-sound blueprint – one that, according to Larry Brooks in his book, Story Engineering, requires a plan based on proven physics and structural dynamics -- to build something that will bear weight and resist the elements, so must a writer engineer a story using the literary equivalent. The technicality of the story is fundamental to its creativity. The master writers make it look easy, but behind the scenes, it’s all sweat, blood and a few tears.

There are no easy answers. I tend to like what  Margaret Dilloway suggests in The Writer Unboxed, that you have to give  yourself the permission to write, and you have to give yourself your own approval and authentication, instead of depending on external sources. As she states,  "Nobody else can do that for you. You have to take that power and confidence for yourself.”

Most important, remember that it's important to celebrate the little things. And the big things. And the wicked goggly things, too.

 Celebrating the completion of my SFD! You know, shitty first draft! Only 99 more to go!

Thank you for reading!

-- Bobbi Miller

 

Prompting Possible Imaginations

I happen to agree with Esther when it comes to writing prompts. I’m not a great devotee of prompts.  

We’ve all heard those success stories of debut authors. (I hesitate to use the qualifier “overnight’, as it tends to negate the work that went into the writing.) J.K. Rowling. Veronica Roth. S.E. Hinton. Christopher Paolini self-published his first book, Eragon. He sold thousands of copies, when Random House took notice and bought the rights, and the rest is dragon history.  Emma Cline, who wrote The Girls, was offered a three-book contract with a reported $2 million deal.  

The real success stories – and the real champions -- are not the lucky debuts but we the sloggers, the majority of us who get up every morning and do what we do. We don’t define ourselves by rejections, nor by successes. We write. And if we’re lucky, we have a friend or two who send reminders, wrapped in chocolate, with a note: Yes, rejection sucks. Eat chocolate. Now get back to work.

But getting back to work is not always as easy as it sounds. I’ve written about my own trials in finding an agent many times, including here.  This week, news broke out about events surrounding New Leaf Agency (See Publisher’s Weekly article here), bringing into stark relief how excruciating the business of writing can be. Despite having seven books, a few award-winners and several short stories published in major venues, I've faced my own challenges to find an agent. And this in stressor certainly impacted my writing process. I mean, what’s the point?

After parting ways with my third agent, I stopped submitting to focus more on the story engineering process, taking classes from some of the best people in the business. (I highly recommend classes from the indomitable Emma D. Dryden, from the master editors of Eileen Robinson and Harold Underdown at Kid's Book Revisions, from Lorin Oberweger's Free Expressions.) Taking classes from such great teachers kept me in the flow.

 In 2023, one editor finally made an offer (shhhh, it’s not official yet. But watch this space! Unless, of course, change happens.).  Another editor invited me to create a proposal for a multi-book project. Who-op! The proposal was accepted and made its way up the chain. With these several manuscripts in hand, I was able to connect with my current agent.  

Still, we remember that things can change on a dime. That’s what it means to have a career in writing: the business of publishing is always in a state of flux. And so it happened again, the proposed series was rejected. Historical fiction is a hard sell.  What's next? Well, my agent and I are working on it.

If there’s a prompt to be had, perhaps the only one that matters is: 

Write what you love. Write your passion. 

 I write historical fiction. As Liz Trenow states (Writer’s Digest, April 2023): “When I discovered historical fiction, I loved the way it opened up worlds I knew little about, led me into researching eras of history, even took me traveling to find out more.” 

For me, history is my inspiration.  I grew up reading historical adventures and watching Doctor Who (a show that bent history into a wibbly wobbly adventure, to be sure!) Of course, it was the boys who were having all the fun. I wanted to know about those other stories, plain and ordinary girls like me. 

I also love to research. I enjoy reading diaries of those who experienced the events. When writing Girls of Gettysburg (2014), I walked the battlefield four times, watching re-enactors create this moment in history taht took place one hundred fifty-one years ago. I stood in the very place where twelve thousand Confederate forces gathered along Seminary Ridge. Almost a mile away, at the end of an open field, a copse of trees marked the Union line standing firm on Cemetery Ridge. When the signal was given, the men marched across the field. The line had advanced less than two hundred yards when the federals sent shell after shell howling into their midst. Boom! Men fell legless, headless, armless, black with burns and red with blood. Still they marched on across that field. And in the middle of this gruesome battle, the bloodiest of the Civil War, were my girls of Gettysburg. 

My characters also broke the rules and norms of their period as they struggled to take control of their destiny, although I was careful to provide context.  This focus reaffirmed the theme that underscores all my writing: Doing right wasn’t always easy, and sometimes it could be dangerous, but it could also change the world. And, in reading my stories, young readers are empowered (hopefully) to do the same.

For me, historical fiction tells the story of a living past, illustrating the continuity of life. Humans by their very nature are difficult, complicated, short-sighted, and at times, tragic. And yet, there is hope, grounded in human experience and perspective, all of which has been the driving force of my storytelling.

As my protagonist in Big River’s Daughter (2013) said, “This here story is all true, as near as I can recollect. It ain’t a prettified story. Life as a river rat is stomping hard, and don’t I know it. It’s life wild and woolly, a real rough and tumble. But like Da said, life on the river is full of possible imaginations. And we river rats, we aim to see it through in our own way. That’s the honest truth of it.”  And therein is the hope of River’s journey: if one perseveres,  life can be full of possible imaginations.

So, the question -- or the prompt -- becomes: Why do you like to write, and what do you love about your writing? 

-- Bobbi Miller

Writers Write

I hope you had a nice Thanksgiving, and celebrated the day exactly as you wanted. Let the holidays begin!

 Recently a friend and I were discussing the state of the business of writing. Publishing is a business, and a very dispiriting one. It’s external from the craft of writing, open to subjective opinions and the whims of trends. The dreadful truth is the odds are against us.

But, as once said by old friend long gone (and my own dear Dumbledore, Emma Dryden later reaffirmed, so we know it's true), writers write. Everything else -- everything external -- is beyond our control. However, writing is an internal process. As such, we focus on what we can control: ourselves. Take classes. Teach classes. Read books about the craft. Study mentor books. Adapt, rethink, refocus. Take chances. Leave your comfort zone. Write something new. Write something different. Submit, and submit again. Persevere. 

To cite another idiom: We do our best and leave the rest to the universe.  

 Or, as Neil deGrasse Tyson offers much more eloquently --  and really, who else knows more about how the universe works than the mighty Tyson:

“The problem, often not discovered until late in life, is that when you look for things in life like love, meaning, motivation, it implies they are sitting behind a tree or under a rock. The most successful people in life recognize, that in life they create their own love, they manufacture their own meaning, they generate their own motivation.” -- Neil deGrasse Tyson

Recently I discussed one source of motivation.  Considered “a master class in novel writing,” Story Engineering,  by Larry Brooks (Writer’s Digest Books, 2011), takes a deep dive into story architecture. As Brooks offers, “…in their execution, stories are every bit as engineering driven as they are artistic in nature.” In other words, the technicality (or criticality) of the story is as fundamental as the creative. As Brooks stated, 

“A story has many moods. It has good days and bad days. It must be nurtured and cared for lest it deteriorate. And it has a personality and an essence that defines how it is perceived. Just like human brings.”

Brooks is quick to admit that a writer can have all the right ingredients, perfectly stirred, and it turns out bland. Or, to put it another way, it’s possible to assemble in perfect order that perfect body. But without that creative spark, there is no life. Think Frankenstein’s monster. 

So enthralled with his Story Engineering, I picked up another of his books, Story Fix: Transform Your Novel from Broken to Brilliant (Writers Digest Books, 2015). He begins his discussion with this powerful statement that encapsulates my recent discussion with my friend: “This is a book about the writer within.” The book is like a bootcamp for writers, no matter what stage in their career, focusing on the revision process. He states: “When we approach revision with the idea of creating something more enlightened and empowered, rather than just making the writing itself technically better, truly wonderful things can happen.” 

According to Brooks, there are two essential realms of revision: the story idea, or concept; and the execution.  The story idea should offer a dramatic premise, a thematic stage upon which characters reveal themselves.  Revisions from this realm can be challenging because the writer must take a deep dive into the original premise. Too often, writers tweak the execution of the story, but ignore the raw material, the inherent nature of the story.  He offers the example, “It’s like polishing a Volkswagen to prepare for a NASCAR race. Shiny isn’t the point.”

Likewise, the story’s concept may be compelling, but the narrative may be too slow, bogged down by too much backstory, or the characters are too one-dimensional. Maybe there’s not enough tension, or the pacing is off.  Brooks identifies and examines twelve crucial elements that address these two revision realms. As one reviewer noted, the book isn’t just about revision, “it’s about resurrection.”

Turning my attention to the business of writing (because understanding how the business works helps to inform our strategies in surviving the challenges of the business), I read Law and Authors: A Legal Handbook for Writers, written by literary agent and lawyer, Jacqueline Lipton (University of California Press, 2020). This is an extremely reader-friendly book that decodes complex concepts such as copyright laws, the difference between copyright and trademark, the difference between public domain and Creative Commons, how much is Fair Use, and the difference between self-publishing, independent and hybrid authors. She takes a deep dive into contracts, both agent and publisher. Targeting the agent agreement, she highlights several questions the author needs to ask potential agents, such as if the agency contract is a book-by-book contract, or will it cover multiple projects (i.e. career building). Will the agent continue to represent you if they don’t sell your first book? How can you tell a good agent from a bad agent, and what happens if something goes wrong? 

She addresses the many, many minefields often found in a publisher’s contract, discussing the specific rights a writer is selling or licensing. And, of course, she explains royalties on a level that even an lumpish loggerhead  like myself can understand. Sorta. My takeaway: negotiating a contract is not for the faint-hearted.

Indeed, the odds of getting published are low. Some say 1000 to 1. Others say it’s less than 1%. Or, as Harold Underdown offers in his still-relevant 2010 article, the odds stink. 

But in the end, does it matter? Yes, somewhat. Be aware, but don’t let it define you.  In the end, the odds don’t matter. Because, as Harold explains, “Any editor can tell stories about times when they opened a submission and read a manuscript that they just couldn't put down and knew right away that they had to acquire. This may have been a manuscript that had been seen by dozens of editors, or they may have been the first one. That didn't matter.”

Writers write.

Find your jam and go with it, and leave the rest to the universe. 

-- Bobbi Miller

Writers Write clipart from Clipart Library. 

Connections Deja Vu!

Connections Photo by Cynthia Cotten 

As you know, I’ve been away for a bit, taking care of life. And now I’m back, grateful for this connection. Now we know, connections reinforce and celebrate the continuity of life.  

If this theme feels like déjà vu, it’s because it is! But it bears repeating: As summarized perfectly in some tourist commercial, this past year has felt like one very long, long winter. Defined by loss and grief, fear and sadness, the year carried with it an overwhelming since of hopelessness, underscored by a sense of disconnect.  As the old adage goes, “Everyone has a tragedy.”

The pandemic highlighted how we took the connections in our lives for the granted. Indeed, as another old adage says, we realize the true value of anything only after it’s taken away.

The internet, and social media, redefined – or revolutionized – the power to connect.  These connections kept us … well … connected. Not only to our favorite companions but to our stories. I’ve discovered some pretty nifty  writing connections, included below. I hope you find these helpful in your writing journeys! 

Classes and Webinars

Writing conferences and classes have moved online, making them cheaper and more available. Some of the best that I’ve taken are the usual suspects,  including master editors and teachers Harold Underdown and Eileen Robinson’s Revision Workshops.  Not only were their revision workshops extremely helpful, so was their line-editing workshop. In fact, Harold consulted on my second novel, Girls of Gettysburg (2014, Holiday House). If you need an editorial consult, check out his blog (listed below).

Free Expressions, founded  by Lorin  Oberweger, offers a slew of interesting, informative webinars by masters of the trade, including Chris Vogler, Donald Maass, James Scott Bell and Emma D. Dryden. I can't pick out a favorite. They are all that good. Topics have included The Art of Villainy, with David Corbett;  Death to the Snoozer, with Henry Neff; Backstory is Fore-Story, with Donald Maass (his webinar on Three Primary Scenes was particularly informative); and Shaping Your Best Characters, Worlds and Stories, with Emma Dryden.

The Craft of Writing

An absolute must-read is Emma D. Dryden’s blog, our stories, ourselves, in which she shares her “… thoughts on the stories we tell & the stories we live.”  Emma’s career has spanned 33 years in the publishing business, has edited over 1000 books, many of which have been award-winners, including  the Newbery Medal, National Book Award nomination, Coretta Scott King Author Award, Indies Choice Book Award, New York Times Best Illustrated Award, Edgar Allan Poe Award, Oppenheim Toy Portfolio Platinum Award, Christopher Award, Jane Addams Book Award, Boston Globe/Horn Book Award (and many more). If you get a chance to take one of her classes, either through Free Expressions (see above) or elsewhere, do so! She’s has owned her own consulting business – drydenbks --  since 2009. And she is excellent!

Writer Unboxed   is dedicated to publishing empowering, positive, and provocative ideas about the craft and business of fiction.  Founded in 2006,  the current editorial director is Therese Walsh, and hosts more than 50 contributors.  Recent posts include Knowing Your Invisible Narrator, by Milo Todd; Close Encounters of the Initial Kind: Tips for When Characters Meet, by John Kelly; and The Dangers of Editing, by Dave King.

Another favorite, underscored by his ethereal writing, is Bruce Black’s blog, wordswimmer, in which he invites his readers to “come dive into a sea of words and swim toward a new understanding of the writing process.” 

An excellent podcast that further explores various literary concepts is Alexa Donne’s Podcast  . Alexa offers  insight into craft , the publishing industry, interviews with authors, book reviews & more. I share it with my classes regularly. Her podcast on dramatizing (show) versus narrating (tell) is particularly helpful.

And, by the way, KidLit411 keeps an excellent listing of courses, agent resources, author interviews, blogs to follow, discussions on craft, platform building, and ways for authors to connect to each other.  The targeted genre is young readers to young adult, but many of the strategies are applicable to every genre. 

The Business of Writing

Harold Underdown’s website and blog, The Purple Crayon, follows important trends on the business of writing. While his targeted audience writes children’s books to YA, the information is applicable across all genres. His Who’s Moving Where  notes important agent and editorial staff changes. His blog explores topics relevant to non-published and published writers alike!  Be sure to check out his discussion on how to evaluate agents. 

Speaking of agents, two invaluable resources include Natalie Aquirre’s blog, Literary Rambles. . Each month she highlights  agents currently looking for submissions in her series through Agent Spotlight Interviews, and often includes query critique giveaway. 

The second is Erica Verrillo’s Blog (and newsletter), How to Get Published , offering extensive agent listings, contests, conferences and paying markets that cover all the genres. As she states, she “… doesn't know why anyone with an ounce of self-preservation would ever want to publish. But, if you insist on selling your soul to the devil, learn how to do it right: marketing, literary agents, book promotion, editing, pitching your book, how to get reviews, and ... most important of all ... everything she did wrong.”

And, of course, there are these two  principal websites that details updated information on agents and their current needs, covering every genre: Manuscript Wish List and QueryTracker. 

Speaking of agents (again), agent Kristin Nelson, of Nelson Literary Agency, uses her blog, Pub Rants, to discuss her observations about the business. Her recent article, Three Agent Types to Avoid…and the One You Won’t See Coming   is particularly helpful in researching agents.

Another excellent resource is Anne R. Allen’s Blog . She and her blog partner Ruth Harris regularly explore topics pertaining to the business as well as the craft of writing. Her recent posts focus on making the most of your social media. Anne is a contributor to Writer’s Digest and the Novel and Short Story Writer’s Market. Ruth Harris is a New York Times bestselling author, Romantic Times award winner, former Big 5 editor, publisher, and news junkie.

And, don’t forget to keep a regular watch on Victoria Strauss’ and A.C. Crispin’s website and blog, Writer Beware.   Sponsored by the Science Fiction and Fantasy Writers of America, with additional support from the Mystery Writers of America, the Horror Writers Association, and the American Society of Journalists and Authors, the mission of Writer Beware® has been -- for more than twenty years  -- to track, expose, and raise awareness of questionable, illicit, and/or nonstandard practices in and around the publishing industry.

And that’s just the beginning! What resources – websites, classes, books – have you found particularly helpful  that keeps you connected to your writing and writerly companions?

Do or Do Not: It's All Okay

 

Emma D. Dryden

Lordy I am so weary of 2020.  I am fatigued with the chaos, distressed about the pandemic, which has hit too close to home of late. 

As we at Teaching Authors continue to explore our favorite inspirations, I’ve written about all the ways I try to keep my head in the game. I continue to take classes, read craft books, and just read in general. Take walks. And garden. I also teach. But it can be dispiriting. I confess, there are moments  of late that I have no feel for my writing. Then I find myself feeling all sorts of convoluted messiness that I, as a working writer, should write some pages every day. And when I can’t, I feel like perhaps I never will again. 

Everyone knows Emma D. Dryden, whom I value as my own Dumbledore. Emma is a long-time indomitable presence in publishing. Working thirty years in the field, she was Vice President, Publisher of Atheneum Books for Young Readers and Margaret K. McElderry Books, imprints of Simon & Schuster Children’s Publishing, a position she held until 2009 when she launched drydenbks. 

No one knows more than Emma the ups and downs that each writer faces in pursuit of their craft.

Recently, Emma sent this wisdom. This is my favorite quote of the entire year!  It seems so apropos for the struggles we as writers and teachers are facing during these trying times. I thought you may need to hear these encouraging words.

And, should you need more feelings good, here’s a video that comforts and inspires. From Brittany Howard, You Never Walk Alone.

By the way, how are you doing?

--Bobbi Miller

Keeping Calm and Writing On

First, a reminder that today, May 29th,  is the last day to enter to win an author-and-illustrator-autographed copy of Amy Alznauer's book, The Boy Who Dreamed of Infinity! The book has received starred reviews from Booklist, Kirkus and Publishers Weekly! Go to Esther's post and scroll to the end for directions on how to enter.

As April reminded us, Teaching Authors  posts Writing Workouts on Wednesdays, but we figure everyone is blurry-eyed and zoomhausted. Some of you may be desperately looking for a ready-to-go writing exercise for yourself, your kids or your classroom, offering GRAB 'N GO WRITING EXERCISES. 



But I’m still too blurry-eyed. Try as I might, I’ve been having a hard time getting into the mood myself. It’s hard to settle my thoughts, and keep my butt in chair, to concentrate on my writing. You know what I mean.

So, I did the next best thing. I’ve long sang the praises of my favorite workshops offered by my honored friend, the Gandalf-esque Harold Underdown (in partnership with another master-editor, Eileen Robinson), including their KBR Webinars and Workshops.  I’m currently taking their Graduate Novel Revision Workshop. Their exercises and discussions, now more than ever, keep my head in the game.

And this week, I indulged in taking another webinar, this one hosted by Writing Blueprints, a creation of Children's Book Insider. 

This class, it turns out, was exactly what I needed at this very moment. HOW TO GRAB & HOLD THE ATTENTION OF AN AGENT OR EDITOR, a webinar by the indomitable, legendary editor Emma D. Dryden, owner of drydenbks. Everyone knows about her thirty-year career in publishing, working with Margaret K. McElderry, becoming Vice President/Editorial Director then Vice President/ Publisher of Atheneum Books for Young Readers and Margaret K. McElderry Books, imprints of Simon & Schuster Children’s Publishing. She brings all of that experience to each and every one of her workshops.

I was a longtime admirer (who isn't?) of Emma before I became her client some years ago. As her client, I called her Dumbledore, because she always said what I needed to hear at the moment I needed to hear it. I didn’t always want to hear it, true enough, but in listening to her wisdoms, I became a much better writer, and much better informed in navigating the business of writing. And now, I am privileged to call her a friend.

 This webinar is available as a recording, and includes the best handouts ever! While the focus is on YA and younger audiences, the information is applicable to every genre, and to every writer. Eleven handouts filled with resources and exercises will keep your head in the game, too.

I include this little exercise from the workshop, in which Emma helped us to clarify the important elements of our story -- the heart of the story --  in preparation for writing our agent query. We filled in the blanks using only a couple of sentences: 

1. My manuscript is about (external plot):
2. Underneath that, my manuscript is really about (internal plot):
3. I have to write this story because:

"Words are, in my not-so-humble opinion, our most inexhaustible source of magic." says Dumbledore, in J.K. Rowling's Harry Potter and the Deathly Hallows.

So, how do you find your magical words?

“Keep going,” says Emma D. Dryden.

Keeping calm and writing on. Safe journeys!

--Bobbi Miller

Into the Woods...

Karen Grencik

... in search of red foxes.

I graduated from the graduate program at Vermont College of Fine Arts Writing for Children and Young Adults (VCFA) with a four-book contract for picture books that highlighted my love of American folklore and history. But, as much as I knew about writing and story, I knew nothing of the business of children’s publishing. And it is, foremost, a business.

I signed on with the first agent who would help me with the multi-contracts. This relationship wasn't a hard find. I already had the contract in hand, or rather contracts. This meant, I already did the hard work. This is never a good idea. Like any relationship, you want to get to know each other, ask questions, and make sure it's a good fit. You don't get married after only a first date. And an agent-writer relationship is akin to a marriage. ( See Mary Ann's wonderful discussion on her relationship with agents!) This agent sealed the deal with the contracts, but a couple of significant  issues arose. She had signed the boiler plate contract. The contracts included a couple of damaging, very strict clauses:  the option clause, which gives the publisher the privilege of publishing your next book, and the non-compete clause, which restricts the author from publishing another book that competes with the work in question. This first agent didn't negotiate to reword or remove them, and I didn't know enough to ask what they meant. Needless to say, that relationship ended in a quick divorce. I found another agent, via one of the agent's clients, but more problems arose.  According to this new agent, because of these clauses, I couldn’t submit work elsewhere, and she couldn’t renegotiate the clauses because she wasn't the agent on record.

 In other words, my career was not only stalled, it was completely derailed.

 That relationship also quickly, of course. Determined, I went to Author’s Guild, learned what I had to in order to understand these clauses, and then I renegotiated the particular clauses myself.

My first two picture books came out in 2009, eight years after signing the contract. The second book was published a year later. The third book came out in 2012, eleven years after signing the contract. The fourth contract was cancelled. Thankfully, I had a strong circle of friends, in particular Eric Kimmel and Marion Dane Bauer, who understood that business side of things and shared their wisdom and support through those many years.

But there was yet another, stronger riptide I had to steer through. Beginning in 2001, the children’s market was changing dramatically. The folklore picture book market was bottoming out. The very genre that I had studied, loved, and sought as my career was no longer an option. What the heck do I do now? Where do I go from here?

Writers have to find a way to adapt. 

Into the woods I went, searching for a place where I belong. 

The challenge became in combining all that I had learned and loved in folklore and history. For a long while, it was a hit-and-miss effort. Finally I had this manuscript, Big River’s Daughter. It was a middle grade novel, an historical American fantasy. By now, I was unsure if it even fit in a market that no longer viewed folklore as relevant. Even historical fiction was having a hard time.

And that’s when I learned my greatest lesson: the importance of patience and perseverance.

I met Emma Dryden via Facebook, when she was describing her experience as a passenger on a Windjammer cruise – the very one I had gone on as I was researching my book, Big River’s Daughter! I’ve known about Emma for decades; she’s legendary in the field. It turns out, she had just started her own business, drydenbks. I signed up, asking her a crucial question: Where do I fit in now?

And of course, Dumbledore that she is, she helped clarify my thinking and create a plan that would help me achieve my goals. Not only do writers have to adapt to the shifting markets, sometimes they have to make their own place.

Part of that plan included an introduction to agent Karen Grencik, who it turns out had just started a new agency, Red Fox Literary. And this time, I wasn’t shy about asking questions – even dumb ones. And we talked, and talked, and talked. I was cautious given my previous experience. Still, it didn’t take long before I knew: She was the one! One month after we teamed up, Karen sold Big River’s Daughter. Three months after that, she sold my second middle grade novel, Girls of Gettysburg.

All things happens for a reason at the time they are supposed to happen. As River plunges into the wilds of the frontier, taking on the Pirates Laffite and the extraordinary landscape of the mighty river herself in the rough-and-tumble Big River’s Daughter, there is that truth of River’s journey: if one perseveres, life can be full of possible imaginations.

 Speaking of perseverance and possible imaginations, don't forget to enter our Book Giveaway to win a copy of the Children’s Writers and Illustrators Market 2017!

--Bobbi Miller

A Luddite Celebrates Internet Day!

Remember the Egyptian Revolution of 2011? For two weeks and three days, the whole world watched as millions of protestors across Tunisia and Egypt demanded reform, ultimately toppling two powerful regimes. While other regional issues certainly followed, it doesn't minimize the enormous change that the internet helped bring about. The people had connected, and used the internet to show the world a new wave of revolution, ending a 31-year state of emergency.

On a much, much, much smaller scale, though just as fervent, the internet has certainly changed my world. I’m a Luddite by nature. I write manuscripts in longhand, use postnotes to organize everything, and write grocery lists on the back of envelopes. I prefer real books to ebooks. And yea, I still use snail mail. Only recently have I let go of my beloved stickshift, a relationship that lasted 200,000 miles. In its place is an automatic complete with all the computerized bells and whistles of modern convenience. This is me, rolling my eyes as I turn on the radio to listen to tried-and-true NPR. Not even the Tardis is this decked out. And this new car isn’t even high end!

Still, once upon a time I had spent hours in the university’s basement archives. Now, all of history is just a click away because of the internet. Remember my discussion on the Library of Congress?

Of course, the most powerful connections have been about people. It's always about the people. And these connections I’ve made by way of the internet have been at the very least life affirming, and at its best, life-saving.

In the two and some decades since I entered the business of writing for children, I’ve met some phenomenal people. Some had been my heroes and have now become close friends. (I’m talking about youuu, Eric Guru!) Some had begun as friends and have now become my heroes. (Thinking of you, Monica!)

And through all the good and the bad, and sometimes the very bad, that comes with the writing business, these connections have made the journey more than just bearable. They’ve made the journey worthwhile. (Always ever grateful, dear Karen!)

I’ve included below some of my favorite connections and favorite people I’ve gathered along the way. This is by no means a complete list. But, in celebrating Internet Day, it's always nice to remember the people on the other end of the wire.


The amazing Emma Dryden, otherwise known as Dumbledore, is a legend in the business, sharing her wisdom on life and writing in her blog, Our Stories, Ourselves.

Award-winning writer and teacher, Marion Dane Bauer is a national treasure. She shares her insights on life and writing on her blog, which includes a special section for educator’s at Educator’s Endnotes.

A mainstay in the business is editor Harold Underdown and his website, Purple Crayon.

Yvonne Ventresca, author of the amazing young adult novel Pandemic, always offers some interesting research and tidbits about a variety of topics.

Joanna Marple, long known for her wonderful explorations of children’s literature at Miss Marple’s Musings, recently went on an inspirational life-affirming cross-country journey, and shared her adventures on her blog.

Brainpickings is a wondrous exploration into all things art and human!

Bruce Black’s blog Wordswimmer meditates on the art of life and writing, using the metaphor of swimming. Calming, serene, wise and inspirational.

Recently I chanced upon Elaine Kiely Kearns and Sylvia Liu at KidLit411, and discovered a treasure trove of all of my favorite writing sources.

A group of ten writers after my own heart share their love of historical fiction, their insights and experiences about the genre on their group blog, Mad about MG History.

Another favorite group blog is From the Mixed Up Files, in which thirty authors write about all things middle-grade. A great resource for teachers, librarians, parents and everyone with a passion for children’s literature.

I could go on, but I don't want to hog the conversation. Who or what are some of your favorite  connections that you've made because of the internet? Feel free to share them in the comments!


Of course, the worse thing about the internet is the ever-so-easy access to online bookstores.  New books just a click away!

O no!! 

~ Bobbi Miller
(p.s. All photos courtesy of morguefile!)