Writing Groups that Work: Give and Receive Feedback that Supports the Writer
Date/Time: Thursday, June 6, 2024, 7:00–8:30 PM (EDT) Cost: $30 US Delivery: Online with session recorded for later viewing
Get the scoop on writing groups that work. In fact, why not invite your writing group (or writing partners) to join?
A well-run writing group can be a training ground for collective growth, support, and motivation to write. But some traditional groups can be unintentionally off-base, judgmental, and even harmful. In this 90-minute session, you’ll explore how to set up a writing group that centers on each writer’s needs, including creating a discovery experience to explore a project – where it came from, where it’s at now, and where the writer is inspired to take it next.
This course will cover:
how to form your ideal writing group, including where to find members and how to set it up for success.
how a writing group can foster inclusion and support for a diverse range of experiences.
how to prepare for feedback on your writing, including the value of an artist statement to introduce a piece of writing.
how responder(s) can prepare for a feedback session.
how a group can co-create a safe, nurturing feedback experience.
the roles of the responder(s) and writer during feedback.
what to do with the feedback you receive on your writing (and when to set it aside).
This workshop is for any writer or writing group seeking ways to offer and receive targeted, constructive feedback that inspires revisions and meets writing goals.
To register, go to the Whale Rock website. While you’re there, please also check out their many wonderful offerings for new, emerging, and established writers for children and youth. And don’t forget to subscribe to the Whale Rock newsletter!
In a few weeks, my debut picture book will be published by Owlkids Books. I’m counting the days!
It’s a journey that began years ago, when I first fell in love with picture books as a child and, later, when I fell in love again as I read them aloud with my daughters. I adore how picture books are kind of like poetry—simple and short, yet layered and deep. How they’re a read-aloud delight of rhythm and patterns, repetition and humour, colour and wonder. How they’re a way to connect to a child reader, heart to heart, with great authenticity and emotion.
I began my quest to become a picture-book writer by analyzing picture books I adore. How did they work their magic? Later, I started critiquing the manuscripts of friends, applying what I was learning to understand how they were written. I’m grateful, in particular, to Frieda Wishinsky, who patiently taught me much during our coffee dates. Finally, I began to write my own tentative picture-book manuscripts, celebrating my messy experiments and learning from trial and error.
I became more and more excited by the possibilities of the picture-book format, so excited that I enrolled in an MFA program at the Vermont College of Fine Arts (VCFA). My first semester was a Picture Book Intensive with wonderful faculty advisor Liz Garton Scanlon, and it was an explosion of growth and learning.
I read and analyzed over 220 picture books during that semester, and I wrote critical essays to gain more insights. You can read my articles on “How to Revise a Picture Book” (Part 1 and Part 2), which I first wrote at VCFA and later published in CANSCAIP newsletters.
And I wrote and revised 12 picture books during my first semester, including metafiction, fiction, narrative nonfiction, concept books, rhythmic/lyrical, dark/difficult topics, and wordless. I explored how to limit my words so that the illustrations could take up more space in the story. How to set up highly illustratable moments with my text. How to build a frame for my story that supports the characters and plot. How to hold a manuscript lightly so it can grow and change into what it wants to be. How to write narrative nonfiction using fiction techniques. How to rewrite a single spread twenty or thirty times until I found what works. How to play with strong verbs, rhythm, and repetition. How to cut, cut, cut words to distill my manuscript into its essence.
One of my manuscripts during this semester was titled If I Wrote You a Poem, and it went on to become Sour Cakes, wonderfully illustrated by Anna Kwan.
This manuscript began as a collision of two ideas: writing about creativity and a sibling who supports another during a low time. When I let go of it being a manuscript about creativity, it became a conversation between the siblings. I wrote the first six lines and had to let it sit. Then I wrote the next twelve lines and let it sit. Then the whole story emerged. I needed to respect the creative process, not force it to be about a theme I’d predetermined, and I needed to find the characters’ voices. I did plenty of exploratory writing on the characters so I could deepen the story.
It’s been an honour to collaborate with Owlkids and Anna Kwan on Sour Cakes. It’s become all I’d hoped for when I first typed my tentative words into a blank file – a conversation between two siblings, a big one who wants to play and a little one who feels sour. Sour Cakes is told only in dialogue as Big and Little navigate how to acknowledge one’s difficult emotions and how to support someone who’s feeling those big feels. It springs from my family experiences with mental-health challenges, and it’s a deeply personal book.
I look forward to writing picture-book manuscripts for years to come, some that will find a publishing home and some that will not. In fact, I have two more picture books under contract, which I’m excited to share. Still, it’s the writing journey that calls to me. The open-hearted wildness of writing in this format that I treasure for a child audience who I value.
In a virtual meeting for CANSCAIP Members and Friends across Canada, I’ll be speaking with panelists S.K. Ali and Nadia Hohn as well as moderator Glen Huser about our faculty and student experiences in writing programs and schools.
Have you considered a degree in creative writing? What degrees are out there? What is the workload? What can you gain? And – is it worth the money?
Date and Time: March 10, 7 p.m. ET Guests are welcome, and can contact office@canscaip.org to request the Zoom link.
Our world has been going through extraordinary changes, and so have we as writers. Who are you now? What stories are currently simmering within you, waiting to be told?
In this hands-on workshop, I’ll explore how to tap into ourselves and our stories through the practice of side-writing, which refers to stepping away from the story on the page to explore the raw heart of it through creative exercises. You’ll explore how side-writing can help us to write true to ourselves, plumb the emotional depths of our characters to better connect to readers, and spark joy and play in our writing.
A global pandemic. Self-isolation. Health worries. No work. Too much work. Unsafe work. Unsafe streets. Blatant racism on display in the most gut-wrenching ways. These days, it can be hard to concentrate. Hard to sleep. Hard to see the way forward.
I don’t know about you, but I’ve had trouble reading and writing over the last five months. My mind races from one dire situation to the next. I’m easily distracted. And if you’re one of those people who can’t concentrate, who can’t read right now, that’s okay. However you feel, that’s okay.
When I’m awake at night worrying and wishing I could get back to sleep, I remember when I was a kid, when I used to stay awake on purpose, vowing to read the whole night through. Sometimes I would set a stack of comic books beside my bed, determined to read them all. Other times, I’d read a novel under the covers. Reading has always been a joyful escape, and writing too.
Is there a book that might help you escape right now? That might bring you happiness?
Or maybe you have a story inside you that wants to be written? That helps you move forward? If you do, I hope you write that story.
Although our world is horribly out of sorts right now, I’d like to share some happy news. On Friday, I signed an agent contract with Ginger Knowlton of Curtis Brown! I’m super excited to begin this next stage of my writing journey with such a talented agent. Thank you, Ginger!
I’d also like to acknowledge that I didn’t get here on my own. My critique groups and partners have always been both tough and kind with their feedback. My east-end café writers helped to create a comfortable place to write when I didn’t have one. The students and faculty at the Vermont College of Fine Arts were instrumental in supporting and encouraging me, particularly my Writers Without Borders, my Goodnight Noises, as well as my faculty advisors:
Liz Garton Scanlon, who guided me into the world of writing picture books with a rigorous attention to language and a steady, nurturing hand.
A.M. Jenkins, who helped me move beyond planning-type thinking to tap into my characters’ deepest, rawest, primal feelings.
William Alexander, who encouraged me to balance intense focus with play, fun, and whimsy. Will, I vow to “trust my wyrd”!
Alan Cumyn, who taught me how to plumb the depths with each successive rewrite.
