by Karen Krossing | Jul 24, 2019 | On Writing
Note: I’ve been writing about my journey during my MFA at the Vermont College of Fine Arts (VCFA) in Writing for Children and Young Adults. You can read Part 1, Part 2, Part 3, Part 4, Part 5 and Part 6 as well.
I kicked off my fourth and final semester with a two-week residency that left me inspired and emotional. I was touched by how many faculty and students read or lectured on topics that left them open and vulnerable. I’m reminded yet again how deeply creators must connect to their characters in order to encourage readers to care for them as well.
A highlight of my residency was a workshop on writing within and across identity elements, facilitated by the inspirational Cynthia Leitich Smith, who’s latest YA novel Hearts Unbroken dismantles stereotypes. In it, Louise Wolfe deals with the challenges of “dating while Native.” She also attempts to uncover who’s behind a coalition against the school musical director’s ethnically inclusive approach to casting. From our workshop, I’ve culled a list of strategies, techniques and issues to ponder when writing within and across identity elements. Thank you, Cynthia!
Now I’m back home and writing my creative thesis, which means I’ll focus on how to use my newly developed skills to bring creative pages to a professional polish. I plan to revise a middle-grade novel as well as several picture books – both fiction and nonfiction. I also hope to explore some new, fledgling ideas.
And I’ll be preparing an academic lecture based on the critical thesis I wrote last semester. I want to help writers, including myself, peek behind our cultural blinders to identify our characters’ deep-level cultural beliefs as well as our own. I’ll touch on the #OwnVoices movement and explore how to develop culturally rich characters.
And lucky me! I get to do all this with my new faculty advisor Alan Cumyn! If you haven’t yet read his latest, North to Benjamin, you’re in for a treat. In it, Edgar moves to Dawson City with his mother so she can start over yet again, but this time their new home comes with a dog-sitting job. As Edgar’s mother starts to upend the lives of those around them one more time, Edgar takes refuge in his friendship with the farty, lovable Newfoundland dog, Benjamin, so much so that his words come out as barks. I love Edgar’s doggy traits as he tries to figure out what to do next.
Wish me luck as I start my deep dive into my semester work!
Want more? You can read Part 8 and my final MFA post.
by Karen Krossing | Jul 1, 2019 | Mentoring, On Writing
During my MFA in Writing for Children and Young Adults at the Vermont College of Fine Arts, I wrote about how to revise picture-book manuscripts. I’m happy to share this as a two-part article in the CANSCAIP News.
The first part was published in the Spring issue, and it focuses on beginnings and endings. Now, the Summer issue includes the second part on how to revise the messy middle.
For the article, I visited my local archive—the Osborne Collection of Early Children’s Books in Toronto—to seek original manuscripts that became acclaimed picture books. I then analyzed how three authors revised their manuscripts, including Kathy Stinson’s Red is Best (illustrated by Robin Baird Lewis, published by Annick Press), Linda Granfield’s The Road to Afghanistan (illustrated by Brian Deines, published by Scholastic Canada), and Paulette Bourgeois’s Franklin in the Dark (illustrated by Brenda Clark, published by Kids Can Press).
Many thanks to the Canadian Society of Children’s Authors, Illustrators and Performers for publishing both parts. Thanks also to Kathy Stinson, Linda Granfield, and Paulette Bourgeois for permission to quote from their archived material. Happy revising!
by Karen Krossing | Jun 10, 2019 | Book News, On Writing
Note: I’ve been writing about my journey during my MFA at the Vermont College of Fine Arts (VCFA) in Writing for Children and Young Adults. You can read Part 1, Part 2, Part 3, Part 4, and Part 5 as well.
I’m finishing my third semester with my fabulous faculty advisor Will Alexander, author of fantasy and science fiction for young readers, including his most recent book, A Festival of Ghosts, which you must read if you haven’t already!
This semester, Will suggested on-point mentor texts and critical essays that shaped my thinking, he provided writing exercises that gave me techniques to address challenges, and he provided feedback that inspired and challenged me to succeed. He confirmed when I was on track and guided me with enthusiasm when I was not. He celebrated successes with me, both big and small, and truly cared about my development as a writer. Will, I’m so very grateful!
The third semester is all about the critical thesis, which is actually more fun than it sounds because you pick a writing-craft topic that you want to learn about in more detail. For me, that topic was culture and character development.
My premise was that cultural development is not only for characters who are labeled as diverse; it is for all characters. I limited this exploration to family culture, which shows where our characters first develop their beliefs, and peer culture, which shows where they apply those beliefs. I demonstrated that our characters’ cultural orientations provide motivation for how they feel, what they do and say, and how they change—all of which are basic building blocks for story. I developed character cultural development tools that writers can use to gain story insights as well as insights into how they relate to their characters, and I connected this topic to the #OwnVoices movement.
This topic is personally important to me because I want to authentically portray the diverse community in which I live and write. As writers, we’re familiar with how to integrate surface-level cultural elements into a story, perhaps by using slang, describing food or fashion, or using a festival as a setting. However, we should also understand the deep-level beliefs behind those elements. In addition, awareness of how our own cultural orientations differ from our characters’ will help us identify beliefs, feelings, and behaviours that come from ourselves, rather than them. It can also help us identify if we are the ideal writer to tell a particular story.
Now, my critical thesis will join the many others at VCFA’s Gary Library as part of their canon of critical thought on children’s literature. I must be a geek because that makes me excited!
This semester, I also read and analyzed books in a wide range of genres — picture books, chapter books, poetry, novels for kids and teens, graphic novels, novels in verse, short stories for kids and teens, fairy tales, nonfiction, memoir, and essays on writing craft. I listened to 21 audio-recorded VCFA lectures and read many critical theses.
For my creative work, my overall goal this semester was to explore the micro-level craft techniques for emotional depth on the page and macro-level techniques for the emotional structure of a story in both short fiction and novels. Here’s what I wrote over the last six months:
- I wrote three flash fiction stories to play with how to generate emotionally deep characters.
- I revised several picture books, and I’m thrilled that one of those now has a contract with Owlkids Books!
- I wrote and revised a new narrative nonfiction picture book, which I’m super excited about!
- I wrote a solid draft of over three-quarters of a middle-grade fantasy novel that I can’t stop thinking about!
I can’t begin to explain all the ways this program has changed me as a writer. With one more semester to go, it’s not over yet.
My fourth semester starts in July with a residency filled with workshops, lectures, and readings — and a new faculty advisor. In my final semester, I’ll be completing a creative thesis and preparing a lecture. But first, I need a few weeks to rest up for the fun and hard work to come!
Want more? You can read Part 7, Part 8, and my final MFA post.
by Karen Krossing | May 8, 2019 | Kan't Draw Komics, On Writing
I’ve been having fun drawing my Kan’t Draw Komics, which I started because I’m a terrible artist. You can read more about that in this post. Here are my latest ones.
The first one is about how writing can become a struggle between what the writer wants and what the character wants. It’s always better to listen to your characters rather than trying to force them to do what you want them to do. However, a story is also about a character in conflict, so writers need to be prepared to put their characters in dire situations!
Anyone who knows me well will tell you that patience is not my strength. But I love the zen of my weekly yoga classes. When I submit to publishers, I definitely need more zen. Tree pose anyone?
You can read more of my comics on my Kan’t Draw Komics page.
by Karen Krossing | Apr 17, 2019 | Book News
I’m thrilled to announce that I just signed a contract with Owlkids Books for my debut picture book!
Picture books hold a special place in my heart. They’re a joy to read aloud. You can share them with any age. We are never too old for picture books! They create magic in only a few words. And to see my words illustrated? Priceless.
This picture book began as a germ of an idea that I finally put to paper when I needed to write a lyrical story during my Picture Book Intensive semester at the Vermont College of Fine Arts. Nineteen drafts later, it landed a contract. Who says picture books are easy to write?
A special shout-out to my Picture Book Intensive faculty advisor – Liz Garton Scanlon, author of the Caldecott-honoured picture book All the World. Liz is an inspiration.
My critique partners – both at VCFA and in the Great White North – read this manuscript more than once. Thanks to you all!
And of course, I need to thank the talented folks at Owlkids Books, who saw the potential in this manuscript. I am so grateful!
More about the book later, but for now I’ll tell you that it’s scheduled for publication in Fall 2021, and I can’t wait!
Now where did I put that bottle of champagne?
