by Karen Krossing | Jul 12, 2012 | Mentoring, On Writing, Presentation News
Have you been wishing you could attend a conference or workshop to improve your craft? Network with others in the writing and publishing community? Learn a new technique? Keep up-to-date on trends and issues?
Professional development is important for all these reasons. But – let’s face it – conferences and workshops are not always affordable, particularly in far-off locations.
So how can you get there? One way that published Canadian creators can get funding to attend conferences and workshops is through a professional development grant from the Access Copyright Foundation.
The Access Copyright Foundation was created to promote and support Canadian culture by providing grants to encourage the development of publishable works. They also offer research grants and events grants. The professional development grants are available in literary or visual arts for individuals or organizations, and they will fund up to $3000 of expenses related to a workshop, seminar, conference, mentorship, studio program, etc. The deadline for this grant is May 1 of each year. For more information about the Access Copyright Foundation (which is administered by the Saskatchewan Arts Board), click here.
This week, I was thrilled to learn that I received a grant from the Access Copyright Foundation professional development program. Next February, I’m going to the Society of Children’s Book Writers and Illustrators 2013 Winter Conference in New York City! I can’t wait to network and develop my craft further.
This grant program is an awesome opportunity. Mark May 1 on your calendar and don’t forget to apply.
by Karen Krossing | Jun 10, 2012 | On Writing
A good editor knows how to ask the questions that nudge a writer deeper into the story. When an editor can do this, I know my story is in excellent hands.
But before the story ever reaches the editor, I need to act as my own editor – ask those questions of myself to produce the best quality story that I can.
Yesterday, I attended New York City agent Donald Maass’s Fire in Fiction workshop, based on his book of the same name. If you’re looking for the right series of questions to ask about your work-in-progress, Maass will steer you straight.
I left the workshop with an arsenal of writer’s tools in the form of questions designed to deepen character and build the world of the protagonist to have a greater impact on the readers and get them more emotionally involved.
Want an example? When Maass observed that some fantasy and historical stories have under-developed political structures, he spontaneously developed this set of questions:
- What are the distinct social classes in your story?
- Which characters in your story come from each of these classes?
- How will the reader know these characters are from a certain class?
- How does the protagonist see the social classes?
- Who is going to change the social class structure in the story?
- Who is going to move from one class to another? How is this character going to change because of the move?
- What is one thing that is ironic about one of these social classes?
- Pick two social classes and find out what is in conflict between them. Is there one class that has a grudge against another? Is one group being repressed? If so, how?
- What is unfair in the social class system of your story?
- What one law or situation is unjust in the community?
Writers can use the questions that Maass has developed to deepen their stories and inform about their characters. For more insights, check out The Fire in Fiction.
To take this idea further, why not try Maass’s method for yourself? When you’re troubled by some aspect of your work-in-progress or looking for ways to revise a manuscript, consider developing your own series of questions around the issue. Answering those questions could bring unexpected insights and better prepare your novel for that editor or agent.
by Karen Krossing | May 28, 2012 | Book News
I’m delighted with author/illustrator Debbie Ridpath Ohi‘s graphic review of my latest novel, The Yo-Yo Prophet. Debbie faithfully completes a “daily drawing” – an excellent way to stay inspired and fresh. After reading The Yo-Yo Prophet, Debbie created this daily drawing based on the main character, 15-year-old Calvin Layne:
Here’s what Debbie had to say about the book:
“So many reasons to love THE YO-YO PROPHET: the way the main characters change throughout the book, … the tension and excitement of Calvin’s yo-yo performances and competitions, how Calvin reacts to and eventually finds a way to cope with bullying, how he deals with his missing father and the declining health of his grandmother. Uplifting and hopeful ending without being clichéd.”
You can view the full review here.
You can check out more of Debbie’s daily drawings here. Debbie’s first illustration project, I’m Bored, a picture book written by Michael Ian Black, will be released in September 2012 with Simon & Schuster Books for Young Readers. Congrats, Debbie!
by Karen Krossing | May 16, 2012 | Mentoring, On Writing
I recently wrote an article for the Canadian Society of Children’s Authors, Illustrators and Performers. It seemed important enough to spread to the wider world, so here it is on my blog!
When people learn what I do for a living, they often tell me about half-finished novels and wonderful picture-book ideas they plan to complete. So how can they put their plans into action? Check out my six tips for aspiring creators:
Get to Work
“Put your bottom in the chair and pick up your pencil.” That’s what my mother, who taught grade 1 for twenty-five years, would say to her students. She has a theory that adults are just six-year-olds in big bodies, so perhaps her simple directive can apply to us, too. How many people do you know who plan to write or illustrate a book – one day? My mother’s idea is if you “pick up your pencil” you’re more apt to do something productive with it.
Everyone needs to find his or her own creative groove, but I try to write every day, and I know illustrators who try to sketch daily – like Debbie Ohi who aims for a daily drawing, which she posts online at DebbieOhi.com. Even during a busy day, I usually have time to jot down 200 words – the minimum daily output I aim for when writing a first draft. The words don’t need to be well-written – a first-draft always needs revision. But it’s a start. And daily writing or illustrating helps to keep the creativity flowing.
Make Connections in Person
Since I most often write in the quiet of my home office, I have to make a conscious effort to commit to events that will connect me with others in the industry. But whenever I do hoist myself out of my chair and get out there, I’m inevitably glad that I did.
I’ve found that other creative people can offer invaluable support, encouragement and even mentorship. It’s also helpful to share knowledge, techniques and experiences. Even better, I set up mutual critique exchanges with other creators to determine how to revise a work-in-progress.
Publishing professionals can provide valuable insights into how the industry operates as well as trends and current issues. Ideally, these connections can lead to that first publishing contract – and many more.
Obviously, formal events like CANSCAIP meetings and conferences are a great place to make connections, as well as informal one-on-ones over coffee or at critique groups.
Make Connections Online
Social networking is your friend. YouTube is a forum to showcase your work. A website or blog is a valuable promotional tool, whether you’re published or not.
Online connections are as important as in-person ones, and they can provide numerous opportunities to connect with other creators and even publishing professionals. It’s also an opportunity to connect with your audience – the kids or teens you’re targeting as well as librarians, booksellers and others who make decisions about books for kids. In addition, publishers like authors and illustrators to have a strong online presence, even before you’re published.
My advice for making online connections is to find a balance between sharing personal experiences and professional ones. We need to market ourselves and our work, yet show a personal side, too. Avoid over-sharing, and respond to others’ posts to help make connections.
Perfect Your Craft
Understanding the craft of writing or illustrating can take a lifetime. Part of the challenge of a creative life is that every project brings new obstacles to overcome.
I periodically ask myself: What can I do to improve my craft? Maybe a course would help refine a particular technique. Maybe a conference would give insights into a particular genre. Maybe a critique group would help polish a work-in-progress.
Another option for getting feedback is CANSCAIP’s Blue Pencil Mentorship Program. It puts you in touch with a professional children’s author or illustrator (for a fee) to receive a personal critique of your work.
Go Deep
First thoughts are only a starting point. Every creative idea can be taken further, explored in more depth, mined for gems.
A common mistake of aspiring creators is to submit work to publishers before it’s ready. Considering that you typically get one shot with a publisher, make sure it’s your best work.
With that in mind, I suggest you revise, revise, revise. Here’s how you can do that:
- Put the work away for a few days or weeks. Then try to view it with fresh eyes. What works and what doesn’t? How can it be improved?
- Get constructive feedback from people whose opinions you trust. Evaluate their feedback to determine how you want to revise your work.
- Revise.
- Repeat this process until you can’t possible make any further improvements. Then repeat it one more time.
Keep at It
Once, when I was an unpublished writer, I sent an impulsive email to an author I admire – Karleen Bradford (KarleenBradford.com). Since I was feeling discouraged at the time, I was looking at her website because she had useful information for emerging writers. In my email, I asked her for advice on how to get motivated to continue writing after a rejection letter from a publisher. I never really expected an answer, but I got one quickly. Karleen wrote something like, “A writer’s greatest talent is sheer pig-headed stubbornness.” Her words helped me pick up my pencil and return to my story once again. I’ve found Karleen’s words to be true over and over again.
by Karen Krossing | Apr 23, 2012 | Book News, Mentoring, On Writing
My community of writing friends has always been important to me, particularly the members of my writing group. For over five years, we’ve been meeting once a month to critique one another’s works-in-progress. I’ve learned a tremendous amount from every member of my group – from their comments on my writing as well as from how they approach their own writing – and I’m fiercely proud of their talents. Over the last year, two of those writers have published their first novels, and I can’t resist showcasing their fine work.
Sarah Raymond‘s YA novel, Signs of Martha, is a fast-paced read with a quirky cast of unique characters. In it, 16-year-old Martha Becker is a daydreaming pickle-grower with an artistic bent. When a zealous sign painter lands in Martha’s agriculturally-inclined world, she finds a dream, a mentor, and a whole lot of trouble.
I guarantee that this book will have you laughing out loud as well as worrying for Martha as she gets herself in trouble by painting opinionated signs about her neighbours and friends in her rural community. Sarah has created a stellar cast of characters with dialogue that suits them perfectly.
What I learned from Sarah is how to revise. Sarah can wonderfully re-envision a scene over and over until she finds the ideal mix of ingredients to create a wonderful story. I think of Sarah when I need to ditch a troublesome scene and find the insight to completely re-imagine it in a new and exciting way.
Pat Bourke‘s novel for children ages 9 to 14, Yesterday’s Dead, is a perfectly paced historical fiction with finely crafted, likable characters. It’s about 13-year-old Meredith Hollings, who travels from small-town Port Stuart to Toronto to work as kitchen help in a doctor’s home to help support her family. She hopes to train as a teacher one day, but when Spanish Influenza invades Toronto, Meredith may have to give up that dream forever.
This compelling novel brings history alive, with realistic dialogue, believable characters, and insightful historic details about the harsh realities of the Spanish Flu epidemic in1918 Toronto. A detailed teacher’s guide is also available for Yesterday’s Dead.
What I learned from Pat is how to meticulously craft every word. While I’m busy imagining the full breadth and scope of my work-in-progress, Pat is reminding me to pay attention to details. I think of Pat when I dive into the nitty-gritty of how each sentence is constructed.
When any member of my group achieves a success – from a well-written scene to a published book – we all celebrate. Yet I’m also grateful for the behind-the-scenes look I get into how they craft their words.
I can’t wait to see what my writing group will produce next.
