The Orca Limelights website is now live, featuring a video book trailer by Limelights author Tom Ryan. Please share the trailer with bookseller and booklovers everywhere!
The Limelights series is creating a buzz among booksellers, too. I’m happy to report that the series will be featured in the 2013 Books For Everybody holiday catalogue coming out this fall. Yippee!
Most people in the publishing world will admit there’s no magic formula for creating a great story. The art of storytelling is difficult to pin down, hard to teach, and challenging to perfect.
Perfecting story is a continual task for most writers – a never-ending quest for excellence. That’s why being able to analyze one’s story – to determine what it’s doing well and where it needs revision – is essential.
For years now, I’ve been exploring the teachings of screenwriting experts to help me better understand story. A long-time favourite is Hollywood story consultant Christopher Volger. In June, I had the pleasure of learning from him in person at his weekend seminar on the Essence of Storytelling. The seminar covered essential story structure, the hero’s journey, major character archetypes, and strategies for deepening the audience’s involvement in the story. It was great fun to attend with fellow writers Anne Laurel Carter, Lena Coakley, Jennifer Gordon, Gwynn Scheltema, Rebecca Upjohn Snyder, and Erin Thomas.
At the seminar, Volger proved himself to be an expert at analyzing story. Here are two particular aspects of story analysis that I found useful.
Organic Storytelling
Vogler suggests that story connects with the body, that it can have a physical effect on the organs of the body. For example, we talk about how a story chokes us up or warms our hearts. Somehow, stories are hardwired into the human body.
That’s why Vogler has this rule: If a story is not making two or more organs of your body squirt fluid, the story is no good.
By observing our bodies as we experience story, we can better determine what makes an effective story.
Story Structure
Throughout his career, Vogler has sought to understand the hidden rules of storytelling through analysis of story structure:
What is the expected story structure that a reader will intuitively anticipate?
How can we use unorthodox story structure to give readers fresh, original stories?
How does structure punctuate a story, heighten key moments, and invite the audience to breath at the pace set by the writer?
Volger explains his twelve-stage template for story structure in his book The Writer’s Journey (based on the writings of Joseph Campbell and his book The Hero with a Thousand Faces). Basically, Vogler has developed principles to analyze stories, building a writer’s toolbox from which to select tools to use in a particular story.
Of course, Vogler’s story structure is a guideline of a classic story structure, and many variations on it exist, from the tightly formed mystery genre to avant-garde and non-linear storytelling. Any story structure serves as a model only, and writers need to trust their stories to tell them when and how to vary a model.
Using Intuition and Logic
It interests me that Vogler marries both intuition and logic to analyze story, although it’s no surprise that both are needed. It explains why there are no hard-and-fast rules to storytelling and why no publishing expert can regularly identify which books will be the next bestsellers.
So if you’re looking to expand your writer’s toolbox, Vogler may be of help. You can check out either The Writer’s Journey or his newest book, Memo from the Story Department: Secrets of Structure and Character.
Maybe Vogler’s thinking will shake up your view of storytelling. Maybe it will validate it.
I often get emails from teens and parents asking about upcoming writing workshops. This summer, Toronto teen writers can find inspiration and hone their craft with some cool local writers.
Open to teen writers ages 12 to 19. Submission to the Toronto Public Library’s 2014 Young Voices Magazine of teen writing and art is encouraged!
Who: Karen Krossing (me) When: Thursday, July 11, 2:00 to 4:00 pm Where: Toronto Reference Library, 789 Yonge Street
Network with a published author and with other teen writers; discover teen-friendly publishing opps. Do some writing, some reading, and have a bunch of fun. An informative and friendly workshop for teen creators.
Who: Karen Krossing (me) When: Monday, July 22, 4:00 to 6:00 pm Where: Agincourt Branch, Toronto Public Library, 155 Bonis Avenue
How can real life inspire story ideas? Explore how moments such as an early memory as a child, a conversation overheard on the bus or your family history can spark fictional or memoir writing. With fresh and inspiring story-starters, you’ll create captivating scenes, learn creative writing techniques and get constructive feedback on your writing.
Use Your Words: Summer Workshops for Emerging Writers
For young writers aged 16 to 30.
Who: Dalton Higgins (Vibe, The Source) When: Saturday, July 13, 2:00 to 4:30 pm Where: Toronto Reference Library, 789 Yonge Street
Dalton inhabits the worlds of digital culture, hip hop and popular culture – and combines them in a potent mix. One of Canada’s foremost experts on hip hop.
Who: Emily Pohl-Weary (Kiss Machine, Girls Who Bite Back) When: Saturday July 20, 2:00 to 4:30 pm Where: Toronto Reference Library, 789 Yonge Street
Executive Director of the innovative “open source” learning centre the Academy of the (Im)possible, Emily’s novel Not Your Ordinary Wolf Girl will be published this fall by Penguin.
Who: Sheila Heti (How Should a Person Be?, The Chairs are Where the People Go) When: Saturday, July 27, 2:00 to 4:30 pm Where: Toronto Reference Library, 789 Yonge Street
Sheila’s book How Should a Person Be? was chosen by The New York Times as one of the 100 Notable Books of 2012. Contemporary culture is her beat.
I have nothing but respect and admiration for Orca Books‘ editor Sarah Harvey. Working with Sarah on my novel The Yo-Yo Prophet in 2011 was a delight, and I was keen to work with her again. Sarah is an astute editor and, in case you don’t know, she’s also the author of at least ten books for kids and teens, so she knows both sides of the editorial process. (You can check out Sarah’s books here, including both novels and non-fiction titles as well as a picture book.)
In June 2012, Sarah emailed a number of authors about her idea for a new Orca series. Since young teens have become obsessed with the performing arts, shown in part by the popularity of such TV shows as American Idol, Glee and So You Think You Can Dance, why not publish a performing arts series of short, contemporary novels aimed at 11- to 14-year-olds?
It was an idea that caught my attention right away. With a lifelong love of theatre and two daughters at a performing arts high school, I began playing with possible premises. Now, I’m pleased that Cut the Lights will be one of three debut titles in the Limelights series this October, with many more titles coming from a slew of talented authors over the next few years.
Here’s a glimpse into Sarah’s ideas about the series and her personal fondness for the performing arts:
In the new Limelights series, Orca Book Publishers presents novels about the performing arts for ages 11 to 14. Singing, acting, directing, dancing – this series promises to enlighten and entertain teens who love performance.
I’m pleased to be publishing one of the first three novels in the series with Robin Stevenson and Tom Ryan in Fall 2013. Here’s a sneak peek:
There’s more to ballet than pink pointe shoes and tutus.
Cassie just wants to dance, but the atmosphere at her summer intensive at a prestigious ballet school is much more competitive – and nasty – than she’s used to. Not wanting to put a target on her own back, Cassie keeps her head down and concentrates on her dancing. But when she sees real harm being done to the other visiting summer students, she finally speaks out – and finds out just how far some girls will go to succeed.
Is the play cursed or is Briar just a lousy director?
Briar may have a vision for the one-act play she’s been chosen to direct at her performing arts high school, but nobody seems to share it. Not her cast, not her crew, not even her best friend, who wrote the play. As Briar struggles to motivate her cast and crew, she learns some important truths about the fine art of directing – and about herself.
When you step into the spotlight, you have to expect some heat.
Neil plays guitar with his family’s band, the Family McClintock, even though he can’t stand Celtic music and he isn’t as talented as the rest of the family. Or is he? When his buddy Bert convinces him to form a rock band and enter a local talent show, Neil’s playing improves. Everyone notices, including a girl who shares his musical interests. After years of standing at the back of the stage, Neil realizes that he might have what it takes to step into the spotlight.
Calling all teen writers and artists in Toronto! The Toronto Public Library’s Young Voices magazine of teen writing and art is looking for art, photographs, stories, poems, rants, reviews and other writing by teens 12 to 19 years old. Deadline is April 6, 2013. For guidelines and how to submit, click here. For last year’s magazine, click here.
As my second young-adult novel with Orca Book Publishers is set to come out in the Fall, I was lucky enough to read advanced copies of four upcoming Spring Orca titles for young adults. I’m always impressed with the quality writing and stunning covers of Orca books, and these four novels do not disappoint.
Allegra hopes that being at a performing-arts high school will change her life and make her a better dancer. But high school is still high school, complete with cliques, competition and cruelty. And home isn’t much better. Forced to take a class in music theory, Allegra takes refuge in writing music with her young teacher, who nurtures her talent. But when her feelings for him become more intense, and he seems to reciprocate, Allegra sets in motion a chain of events that could destroy everything – and everyone – she loves.
Allegra will appeal to dancers and music-lovers, as well as any teen who has felt overwhelmed by the complexity of dealing with family, friends, and romantic troubles. A layered, complex novel that does not shy away from difficult subject matter.
Lauren Yanofsky doesn’t want to be Jewish anymore. Her father is a noted Holocaust historian, and her mother doesn’t understand why Lauren hates the idea of Jewish youth camps and family vacations to Holocaust memorials. But when Lauren sees some of her friends – including Jesse, a cute boy she likes – playing Nazi war games, she is faced with a terrible choice: betray her friends or betray her heritage. Told with engaging humor, Lauren Yanofsky Hates the Holocaust isn’t simply about making tough moral choices. It’s about a girl caught up in the turmoil of bad-hair days, family friction, changing friendships, love – and, yes, the Holocaust.
Lauren Yanofsky is offbeat, sensitive, and an utterly original character. Lieberman’s novel is a refreshing take on growing up Jewish and finding oneself within the context of cultural and family history.
It’s 1963, and Jack’s family is still reeling from the sids death of his baby sister. Adrift in his own life, Jack is convinced that setting a world record will bring his father back to his senses and his mother back to life. But world events, including President Kennedy’s assassination, threaten to overshadow any record Jack tries to beat – from sausage eating to face slapping. Nothing works, and Jack is about to give up when a new friend suggests a different approach that involves listening to, not breaking, records.
In Record Breaker, Stevenson effectively portrays a child who is overwhelmed by both global and family events. Jack’s voice is convincing as he struggles to deal with his loss and anxiety in wonderfully unconventional ways.
It’s an ordinary nightmare of a family trip until Theo realizes that the beautiful girl beside the hotel pool is his childhood babysitter – and his first crush. Theo hasn’t seen Ronnie in six years, but when she invites him to join her and her toddler son, Zach, on a road trip to Hollywood, he leaps at the chance to ditch his parents. But it isn’t long before he begins to regret his impulsive decision – especially when he sees Ronnie’s terror at being pulled over by the cops. What is she hiding? And what kind of a mess has he got himself into?
In this Orca Soundings novel for reluctant teen readers, Stevenson keeps the pace moving and the characters believable. Damage is vivid, unpredictable, and satisfying.
I’m pleased to announce that my contemporary middle-grade fantasy novel, titled Bog, will be published in Spring 2014 with Fitzhenry & Whiteside! I’m thrilled to be working with the talented Christie Harkin – a publisher with enormous passion for her titles.
Writing Bog has been a lesson in tenacity. It’s a book that’s immensely meaningful to me, yet writing it was grueling. I first conceived it in 2004, so it will be ten years, and a multitude of drafts, until it will be published. As Walter Wellesley “Red” Smith famously said, “There’s nothing to writing. All you do is sit down at a typewriter and open a vein.”
Want to know more about Bog? Here’s a sneak peak.
A cave in Northern Ontario
What is Bog about?
Deep in the forests of Northern Ontario, a cave troll named Bog has spent his young life hunting with his father, Jeddal, learning what it means to be a troll, and avoiding humans whenever possible. Until someone called the Troll Hunter begins turning trolls to stone, and teaching other humans to do it, too. When the Troll Hunter’s followers turn Jeddal to stone, Bog learns a dark secret about his origins that his father had tried to keep hidden: Bog is half-human.
Struggling with this news, Bog sets out after the Troll Hunter to avenge his father. On his quest, he’s joined by a large forest troll named Small and a human girl named Hannie, who would rather pretend to be a troll than return to her abusive father. As they venture deeper in human territory, Bog learns of the legendary Nose Stone, a rock rumoured to bring a stone troll back to life. When the Troll Hunter seeks to destroy both the Nose Stone and Bog, his quest becomes a race of cunning, trickery, and wits.
Where did the idea come from for the book?
I first conceived Bog after the attack on the World Trade Center in New York City and the ensuing war on terror. I wanted to write about cultural bias fostered by learned hatred from previous generations. But the novel is also a reaction to ethnic conflicts the world over – anywhere where there is hatred against another culture instead of acceptance and understanding of differences.
Why write about trolls?
I chose trolls because, in literature, they’re traditionally considered vile to humans. The point of view of a troll character sets up humans as “monsters,” asking what morals and values makes us human versus monster. For me, the novel explores what it means to be human as well as the journey from hatred to tolerance.
My upcoming novel, Cut the Lights, is the first of three books in the exciting new Limelights series. Conceived by Sarah Harvey, editor at Orca Book Publishers, the series offers compelling novels about the performing arts for ages 11 to 14. Singing, acting, directing, dancing — this series promises to dazzle and entertain teens who love performance.
In Cut the Lights, a director of a student-written Fringe Festival play is at odds with her cast and crew, until the breakdown of her lead actor forces them to work together. The novel captures the intense relationships that form during rehearsals and performances, and how a student director learns to empower her cast and crew both on and off the stage.
The series will also debut with novels by Tom Ryan, who published his first novel in 2012, and Robin Stevenson, author of over 15 books for kids and teens. Check out all three titles in Fall 2013.
One of the hardest things about being an emerging writer is receiving the dreaded rejection letter. But why do we call them “rejection letters”? And is that really what they are?
As writers, we obviously have a good grasp of language – in particular, how to choose a certain word or words to serve a specific function in our writing. So I’d like to challenge the term “rejection letter” and even re-name it to be more accurate. I came up with three replacements:
The Not-the-Right-Fit Letter
Too many beginning writers send out a manuscript to publishers or agents without fully researching their current needs, preferences, and even submission guidelines. One of the most common reasons for a refusal to publish or represent is that the manuscript is not a match to their needs. So do yourself a favour, and read the books championed by each publisher or agent you submit to. You will have greater success if you correctly target your manuscript.
The Perfect-Your-Craft Letter
Sometimes, a close reading of a manuscript shows that the writer has more to learn before his or her work is ready for publication. This doesn’t mean that you’re a failure; simply that you’re still learning the craft. Read the writing of authors you admire to discover new techniques, take a course with an experienced and supportive author, and/or start a writing group to exchange feedback on your works-in-progress. Learning more about the craft will get you closer to your goals.
The Manuscript-Sent-Out-Too-Soon Letter
A manuscript that is almost ready is not ready enough. How will a publisher or agent know what you’re capable of writing if you’re not presenting your very best work? Get feedback on your work-in-progress before you send it out, and rewrite until the prose is beyond polished. It will take many drafts to produce a polished manuscript, but it will give you a much better chance of getting the result you want.
***
Okay, so my new terms may not be as catchy as “rejection letter,” but they are more accurate and they’re not as discouraging. They imply that writers who receive one of these letters don’t need to give up, wallow in despair, or throw out a manuscript. But they may need to further research their market, perfect their craft, and/or revise, revise, revise.
The only way forward to publication is to take the next step, continuing to write and re-write with increasing knowledge of the craft and a clear vision of the marketplace.
Attitude 
One of the hardest things about being an emerging writer is receiving the dreaded rejection letter. But why do we call them “rejection letters”? And is that really what they are?