I’m currently finishing up my second semester with my genius advisor Amanda Jenkins, author of the Printz Honor Book Repossessed, among others titles. My goal this semester was to understand how to convey authentic and deep character emotion in both revised and new manuscripts. It expanded to include how to structure a story based on a character’s emotional journey.
Here’s what I did over the last six months:
I 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, manga, short stories for kids and teens, nonfiction and memoir. I listened to 20 audio-recorded VCFA lectures and a handful of critical theses.
I wrote short essays about how to use humor to maximize reader engagement with emotionally taxing characters and how to use micro-level tools to focus emotion in a scene. At the request of my advisor, I wrote a personal essay on why I’m drawn to write monstrous characters like Bog, since one of my works-in-progress has a monstrous character in it. I also wrote two long essays about power relationships and group dynamics in kid-lit families and peer groups.
I researched for my upcoming critical thesis, which I’ll write in my third semester, and I wrote a proposal for it. I’m super-stoked to start writing this!
For my creative writing, I wrote side writing about my works-in-progress as well as new manuscript pages. I focussed on two projects: a revision of a YA novel and first draft of an MG novel. My creative was focussed on depth of characterization and understanding the story that occurs off the page as well as on it.
I emerge from this first semester with this big-picture takeaway: how I can transform my writing process to achieve greater depth of character emotion and use that emotional depth to form the inner arc of a story. I’ve now got a handle on my characters from both my novel projects, and I’m ready to write them in a way that is both honest and deep.
My third semester starts in January with a residency filled with workshops, lectures and readings — and a new faculty advisor. I’m so grateful for what I’ve learned so far and I’m excited for the next steps!
I’m just back from my second residency at VCFA, and I’m exhausted and inspired by days filled with lectures, workshops, readings, and so many conversations about writing. To tell you the truth, I was a little shocked when I arrived home and my family didn’t want to constantly discuss writing. At residency, I also delivered my very first lecture, which was about picture-book revisions.
In my lecture, I talked about revision as the heart of the writer’s craft. It’s the reason an editor might eventually be able to sense the pulse of my story. It’s the reason a reader might get to thrum to the beating heart of the story I’ve finally managed to infuse with life.
But how to revise well? I explored this question with a visit to the Osborne Collection of Early Children’s Books in Toronto to seek original manuscripts that became acclaimed picture books. My goal was to analyze how authors of both classic and recent books had revised their manuscripts. I thought of it as a game, where I could identify what questions the author may have asked when revising or what questions they answered through revision. I could then ask the same questions about my own works-in-progress.
Each time I revise a manuscript, I seem to go through the same painful bumps in the road. My hope is that, by analyzing and learning from others’ revision processes, I’ll be able to find the beating heart of my story more directly and with fewer bumps. Perhaps each of these questions I identified can become the basis for one pass through the manuscript. Perhaps I can infuse my intuitive process with some of this analytical knowledge.
My lecture was part of a panel discussion of picture books with four amazing students I studied with during the Picture Book Intensive (PBI) semester. Together we wrote, critiqued, and analyzed picture books in an online forum, as well as working one-on-one with our faculty advisor, the talented Liz Garton Scanlon. I found the PBI discussions to be more demanding and focused than monthly writing groups. It fostered deep thinking and valuable insights.
With my lecture done, I received a PBI certificate, since this semester can be taken separately from the whole MFA program. I was also thrilled to receive the Beyond Words Scholarship! It’s awarded to a student who demonstrates a passion and commitment to picture books. Now, to use my new knowledge of this genre, I’ll be reviewing picture books for Canadian Children’s Book News as well as continuing to write my own.
I’m now back at my desk and diving into my pile of second-semester work. In this semester, my advisor is a writer with great heart and instinct—Amanda Jenkins, author of the Printz Honor Book Repossessed, among others titles. I’m super stoked to dive into how to better connect to my characters and convey emotional depth on the page, which are my goals for this semester.
Taking this MFA program is the best gift I’ve ever given my writer self. It’s a transformative experience, and I’m so grateful for it.
I’m currently finishing up my first semester, which was a Picture Book Intensive. As an author of young-adult and middle-grade novels, I took a head-first dive into writing a new-to-me genre. My goal was to delve into craft aspects of picture books such as the sound of language, how to think in pictures, and economy of language. I also hoped that a rigorous focus on picture-book story structure and depth of characterization would also strengthen my novel-writing skills. Finally, I wanted to analyze the revision process to gain insights into how to improve my rewriting and polishing stages.
Here’s what I did over the last six months:
I read and analyzed over 220 picture books, seven picture-book manuscripts from the Osborne Collection of Early Children’s Books, 25 audio-recorded VCFA lectures or written critical theses, as well as a few young-adult and middle-grade books and many craft books.
I wrote short essays on topics like meta-fictive picture books and strategies for writing dark subject matter in picture books.
For my creative work, I wrote and revised 12 picture books, including metafiction, fiction, narrative non-fiction, concept books, rhythmic/lyrical, dark/difficult topics, and wordless. I also drafted several other fledgling ideas for picture books.
I rewrote my long essay into a lecture script, handout, and slides in preparation for a panel presentation at my July residency. I’m so excited to share my discoveries!
In an online forum with my wonderful faculty advisor, Liz Garton Scanlon, and four other students, I discussed picture-book craft daily, and I critiqued each of my classmates’ draft and revised manuscripts for a total of 20 critiques.
I emerge from this first semester with this big-picture takeaway: how a process of detailed and individualized critical analysis of children’s books through my annotated bibliography and critical writing gave me insights into revision of my creative writing. Over and over again, I was able to directly apply insights to my works-in-progress. Let me tell you – this process is huge and life-changing. I explored things like how to respect both the intuitive and analytical aspects of writing, the importance of concept as structure in a picture book, how to use rhythm in writing and ways to tackle the revision process. I also gained skills in critical analysis of my fellow-students’ manuscripts.
As I finish my first semester, I can see that I’ve gained insights into myself as a writer, my process and where to go from here. This MFA has been one of the best gifts I’ve given to myself. I can’t wait to see where it’ll take me next.
Note: Many writing friends have asked to hear about my MFA journey, so I’ll be posting about it regularly. To read Part 1, go here.
My first six-month semester at the Vermont College of Fine Arts (VCFA) started with a ten-day residency in snowy Montpelier, including dorm life with a roommate who was wonderfully matched to my habits, cafeteria food that I did not have to make or clean up (thankfully), and lovely welcoming traditions designed to help me make the most of my residency. It was a jam-packed schedule of inspiring and insightful lectures by faculty and graduates, readings by everyone, nuts-and-bolts workshops, and so much more.
During the residency, they have a saying: “What happens at VCFA, stays at VCFA.” It’s a time to focus on craft rather than Instagram posts and Tweets. So what is it like? It’s mind-bogglingly busy. I could barely text my family, or remember where to be next. It’s event after event with generous, enthusiastic writers in rooms that are steeped with creative energy. It’s a marathon of insights and laughter with people who love writing for children as much as I do.
For me, winter feels like a great time to start an MFA. To borrow from Persephone imagery, the seeds are resting under the snow in preparation for spring, and my ideas are gestating too, ready for the deep exploration of writing craft that will bring them new life.
So how does the program work? I’ve created my own independent study plan for this semester, with the help of my wonderful faculty advisor, Liz Garton Scanlon, author of numerous books for children, including the Caldecott-honored picture book All the World, illustrated by Marla Frazee.
Here’s what my study plan includes:
Process Discussion
I’ll have an ongoing discussion with my faculty advisor about my writing practice and process, including drafting, revisions, frustrations, and successes.
Creative Writing
My focus this semester is on writing picture books. I’m stretching my writing muscles to try a totally new genre, which is scary and fun because I have a LOT of picture books to write over the next six months.
I’m particularly excited about this writing because I’ll be able to both write and revise manuscripts, based on feedback. I’m fascinated by the revision process, since so much of our craft lies in that stage.
Reading
This will include an annotated bibliography of all the books I read, so that I’m reading with an eye on writing craft (i.e., what works and how I can use these techniques in my writing).
Critical Essays
I’ll be writing monthly critical essays on topics that relate directly to my writing craft. These are not papers on literary analysis, but on craft analysis.
To tell the truth, the critical work didn’t appeal to me when I was first considering this program. I wanted to focus on my creative work. I wasn’t an academic. But after I wrote a critical essay for my application, I began to understand its value. I wrote about establishing multiple point-of-view characters (using Caroline Pignat’s wonderful young-adult novel Shooter), since I’m currently writing a novel with three points of view. As I wrote my first draft, I kept thinking about my essay, and I feel it helped me hone my various points of view. I can just imagine how much my craft will improve as I incorporate more analysis into my writing practice. I’m already a convert.
Critiques
As part of the Picture Book Intensive semester, I’ll also be interacting with four other writers at various stages of the program in an online forum, where we’ll critique one another’s work and share insights from reading and analyzing books. I’ve been workshopping with these students during residency, and we’re already a tight-knit group. I trust their insights, and I love their enthusiasm.
Back at home now, I’m diving into work and trying not to worry about the crazy amount of writing I’m aiming to accomplish between now and mid-June. Hopefully, I can get my sea legs quickly and balance all I want to accomplish. Then I’ll head back to Vermont for my second-semester residency in July, which I’m already looking forward to.
In January 2018, I’ll travel to Montpelier, Vermont, for my first ten-day residency. I hear that it’s a magical whirlwind of lectures, workshops, and readings from morning till night. I hear that I’ll meet like-minded writers eager to learn more about craft. I hear that I’ll form life-long friendships and be changed in ways I can’t yet imagine. Bring it on!
After the ten days, I’ll return home to work on my critical and creative projects from a distance with my faculty advisor for my first semester. I’m very happy to announce that this semester will be a picture-book intensive, which you can read about here. I’ll be studying with four other MFA students, a faculty advisor with an expertise in picture books, and a professional illustrator.
Like most children, my enchantment with literature began with picture books read aloud to me by adults. As a young girl, I “read” The Story of a Fierce Bad Rabbit by Beatrix Potter to myself long before I could make sense of letters on a page. I liked to capture members of my family and recite my version of the story, over and over. In the book, Potter portrays a fierce, bad rabbit who bullies a nice rabbit and steals his carrot. At a young age, I could already relate to the bullying. Yet what fascinated me was how a man with a gun comes along and shoots at the fierce, bad rabbit. This rabbit ends up with no tail or whiskers, and the nice rabbit avoids the hunter’s gun. There will be justice in this world, Potter’s book told me, although you may not get your carrot back.
When my own children were young, I read them too many picture books to count. Now that they’re twentysomethings, we still find time to read aloud new books I bring home, and we regularly quote from old favorites. “A promise is what you were given and a promise is what you got,” my partner will sagely say, based on A Promise is a Promise, written by Robert Munsch and Michael Kusugak, illustrated by Vladyana Krykorka. “Strength is for the wise, not the reckless. –More cake, please,” my daughter will recite, quoting young Patrick Edward in Monster Mama by author Liz Rosenberg and illustrator Stephen Gammell. Picture books built the foundations of my joy in reading and, later, in writing. As children’s poet Charles Ghigna wrote, “It is the joyous power of picture books that turns young listeners into readers and readers into writers.”
Although picture-book writing is an art I’ve admired for many years, I’ve only begun to experiment with the form recently. With this semester, I hope to learn skills that’ll apply to both short-form writing (the sound of language, how to think in pictures, economy of language) and long (story structure and depth of characterization using few words).
I’ve been prepping for my first semester by reading at least one book by each of the VCFA faculty. It’s been a wonderful exploration, and a great way to get to know them from a distance.
As I count the days until it starts, I’m sure the semester will be full of trials and joys. Will I get across the Canada-US border without trouble? Will the winter driving in Vermont be treacherous? How will I adjust to residence life? Will the workload overwhelm me?
All I know at this point is, when I talk to recent grads of the program, they tell me they’d gladly start the whole process again, if they could.
I’m just back from my second residency at VCFA, and I’m exhausted and inspired by days filled with lectures, workshops, readings, and so many conversations about writing. To tell you the truth, I was a little shocked when I arrived home and my family didn’t want to constantly discuss writing. At residency, I also delivered my very first lecture, which was about picture-book revisions.
