Priscilla Chaves and the Art of Designing Book Covers

This week we’re lucky to have Priscilla Chaves, a book designer, visit the Tolllbooth!

Priscilla designs books of all genres—fiction, non-fiction, cookbooks, children’s books, and more.

Ever since I worked with her last summer when she designed the cover for my novel, Crossings, I was curious about her job as a book designer. I learned that as a designer, she designs the front and back cover and spine of the book, and that she also designs the interiors. She works for Cedar Fort Publishing.

Welcome, Priscilla. 

What was your path to becoming a Book Designer?

I’ve always been interested in art since I was a little girl. In high school I took a few design classes and knew it was something I wanted to pursue. At college I studied design and loved it. After graduation I looked for design jobs, and the book design job found me.

 

 

What is your typical process to design a book cover?

Our authors are sent a design form where they tell me what they envision for their books. Once I receive that, I normally brainstorm ideas that go along the lines of the author’s ideas. Most of the time, I’ll draw sketches and pick the ones I think look best. Then I research ideas and look for images and typography that will work well on the cover. I’ll transfer those ideas to Photoshop and start designing. After the concepts are complete, I take them to my meeting. If it’s approved, great, if not, I go back to the drawing board.

In my case, she read the opening of my novel and other info I had sent to the publisher. Then she sent me an email that included some screen shots to see if she was heading in the right direction at capturing my “vision.” I gave her feedback. Then we talked about hair color. (Which meant I went back into the text and made sure it appeared in the first pages; it had been revised out of those pages.) Next, she finished the cover of Crossings, both the images and typography, showed me what she had designed, and got final approval from the publisher. Later in the process she designed the spine and back cover, and then the interior (working with an editor). I feel she did a wonderful job at capturing the tone and essence of my novel.

 

How do you collaborate with your authors?

Our first communication is when I introduce myself, and discuss their design document for their book with them. Frequently I check in to make sure I’m getting the right vision they want for their book. Normally there’s back and forth until we decided on something we both like.

 

 

In addition to the outer cover, what other aspects of book design are involved in preparing a book for publication?

The interiors of books are a collaboration between the copyeditor and myself. We choose text and flourishes that are compatible with the cover and go from there.

 

 

 

Where and how do you find the inspiration for your ideas for the covers?

I enjoy walking around bookstores and looking at other ideas. Covers that catch your eye stand out, so I try to emulate that in my own work.


Could you share a few of your favorite covers that you have designed?

Daughter of Ishmael, How to Become a Pirate Hunter, Chasing Red, In Spite of Lions, The Gnome Exchange Program: North Pole Rescue.

(These covers are all included in this interview.)

 

 

 

Thank you, Priscilla, for visiting us in the Tollbooth today.

~Sarah Blake Johnson

sarahblakejohnson.com

Want to Finish Your Book? Focus on Fascination.

Friends, I am in the process of trying to finish my second book, and let me tell you, it is a difficult task. When I first began my book, I loved it. Words flew from my fingertips. My characters were quirky, weird, and felt just so juicy. I could hardly wait to sit at my computer and write because I was completely immersed in the world I had created. The story held me by my tippy toes and I couldn’t wait to find out what happened next.

In my case, this fascination lasted about 80 pages, before I started to get overwhelmed with the mechanics of writing—were the characters well rounded? Where was the story arc? What were the internal and external conflicts? Was I telling too much? Not enough? Was the problem compelling? Were the characters annoying? Did this book even matter? At the end of the day, ugh! Writing is hard.

That’s when I stumbled across a podcast on The Unmistakable Creative. The guest was Sally Hogshead, a creative author, speaker and marketing expert. (Go check it out, yo.) She talks about the concept of fascination. Fascination is different than interest or just paying attention. Fascination is when you are at your creative best—or for lack of better words—when you are in a pure creative flow. You are in the zone, completely absorbed, and focused on whatever it is that you’re trying to do.

Neuroscientists say when the brain is in a state of fascination, it has the same brain pattern as being in love. This makes complete sense. I have been fascinated, or in love with, people, books, ideas, paintings, cookies, places, music, TV shows and friends. You all know that feeling. It is bliss. Whatever you are fascinated by, is completely engaging and intriguing.

That’s why a brand new idea is wonderful. We are essentially in love with our creation—it’s original, fresh, and intriguing. We can’t stop thinking about it. By the way, if you are a fascinated person, you communicate better, connect better, and love the world better. All cylinders firing—you are your best self. It’s like that movie with Bradley Cooper, LIMITLESS, where he takes the pill that makes him his best self by 1000%. (Man, I really wish there was a pill like that. Come on, Bradley, help a girl out.)

The attention span of the average human being is 9 seconds. And with instant everything, available 24 hours a day, it is getting harder and harder to stay fascinated. Want to hear something fascinating? Only 7% of workers think their bosses are fascinating. We are all walking around, bored out of our minds. There is also a direct correlation between income and fascination of work (not necessarily your job, but whatever you spend most of your time doing.) The more fascinated you are, the higher your income (according to studies), which makes sense. If you’re fascinated by your life/work, the easier it is to make a living.

That’s great, you say. But what if I’m just bored with my project? What if I’m stuck in the middle and can’t find my way out?

Here’s how you can return fascination to your creative writing project:

1. Muscle Memory: Muscles remember stuff, and so does your brain. For example, maybe you’re an excellent athlete. My husband is a great surfer. I hoped that he could teach me to surf so we could surf together. But here’s the thing, he paddles through the waves like butter. He can expertly eye the perfect wave, with just enough shape and force, to get him on his feet, within 0.7 seconds. He rides his surfboard like it’s attached to his body. He hardly has to think about it because he’s done it so many times. When I surf, its laborious. I have to think about every move I make and then my body doesn’t obey, because I haven’t practiced.

The same is true with writing. If you only write sporadically—let’s say every few days or every few weeks—it takes your mind so much longer to get back into the groove of writing. Writing requires muscle memory. People who spend 2-4 hours each day on a consistent project or endeavor are much more successful, than those who don’t.

2. Writing Rituals: Even with muscle memory practice, writing can still feel like dragging your fingernails across a chalk board. Writing rituals can help you harness the original fascination you had at the beginning of your project. Only you know what motivates you to finish your creative project, but many writers have specific rituals they follow to get them in the zone before they write. I listen to the same play list when I write. I also listen to a favorite book on audible, or a favorite inspiring podcast before I write.

Some people read poetry, some writers hand-write a page from an author they admire, before they begin to write their own project. Other authors go on a walk, run a mile, do the dishes, drink a specific cup of tea, or talk to a creative mentor. Whatever it is that inspires you to sit down and get to work, figure it out, and do that. Sometimes before writing, I tell myself that I only have to write 100 words. More often than not, it only takes me 100 clunky words to get in flow of my project.

3. Mechanics: When I become frustrated with a project, I know I need to change my perspective. It could be tweaks with my characters, plot, or tension, but when I’m bored, I know I need to change my view. Deconstruct what it was that drew you to your creative piece. That may mean further research—a field trip, a new hobby to understand a character better, or an interview with an expert.

Are your characters stagnating? Peel back each person piece by piece. What makes them fascinating? Are they their truest self, without a facade? Is your language helping your piece or is it filled with clunky phrases, words or cliches?  If the mechanics of your writing are on point, it can help improve it’s fascination level.

By tapping into what inspired your art, you and your writing will be more successful. Fascination is what inspired you to write in the first place, right?  So let’s finish that book!

I hope these suggestions help. Happy writing!

xo,
Jen

www.jewhitebooks.com

 

No Pain, No Gain: Are You Making Your Characters Suffer?

Think about all the things you don’t like in real life. Sharks. Spiders. Earthquakes. Bullies. Public speaking. Chances are, if you expose your characters to what you fear, your fiction will flourish because of it. Writers can’t afford to be nice. We’ve got to throw rocks at our characters, as Nabokov famously said. Get them into terrible trouble and hold them there, feet to the fire, until the very end of the story.

Why? Because witnessing other people’s pain and observing how they deal with it keeps readers turning pages. Hopefully, it teaches us something too.

I don’t mean that we should create unrelenting misery; our characters need to experience both ups and downs. I’m no masochist, but since it’s January, I thought the topic of pain was appropriate. For many, this is a month of deprivation and dieting after the holiday excesses. Or a time to force ourselves (again) to start working out at the gym. Just attempting to carry out our new year’s resolutions—and the guilt we feel if we don’t—can cause angst.

Given that this past year has been a challenging one for my family, it helps me to remember that hardship can actually benefit us in the long run. Light can’t exist without darkness. We must experience sorrow to truly feel joy.  So in fiction, a dearth of pain can be a problem. When tension fades, so does reader interest. One of my students has a tendency to protect her protagonists, just as she’d do for the people she loves in real life.  Her instinct is to keep them happy and safe from harm. Boring. “Stop mothering your main characters,” I tell her, but she still finds it hard to hurt them. She’s not the only writer who struggles with this.

It may be helpful to think of it in exercise terms. Physical pain, the kind we feel when we push ourselves playing sports or working out, is a necessary part of getting stronger. Athletes can’t get to the next level without it. Tearing microscopic muscle fibers helps the fibers rebuild more densely into bigger muscles—scientific evidence that discomfort can be beneficial (as long as we don’t overdo it).  I’ve always found it ironic, of course, that in order to flood my system with those bliss-producing endorphins, I have to embrace pain first. But every time, the aches and agony lead me to the ecstasy.

Emotional pain can strengthen us in the same way. Writer Jeanne Weierheiser calls “embracing pain the gateway to growth.” How can you not gift your characters this kind of opportunity? I’m exploring what it means to be a hero in the book I’m writing.  To do this, I’m forcing my characters to make mistakes and endure some really bad things. That’s because their journey to transformation is not based on success. Winning isn’t always the best teacher. Setbacks are what make us stronger. Think about your own experiences. Isn’t positive change more likely to occur after periods of heartache and despair? In the end, my protagonist comes to see that she’s learned more from her missteps than her triumphs. It’s through struggle that she discovers who she is.

The hazards writers create don’t have to be huge and life-threatening. But there should be plenty of small stuff for characters to sweat. Even minor pain can cause emotional upheaval and growth. Things like—

  • Change. This is something people tend to be wary of. As Sol Stein writes in Stein on Writing, “Changes in life are fraught with peril. If the perils of major change happen within the covers of a book, the reader will be absorbed.”
  • Surprises. There are good and bad surprises. Bad ones in life bring “hurt, sadness, misfortune,” says Stein. “But in books readers thrill to the unexpected. A new obstacle, an unexpected confrontation by an enemy, or a sudden twist of circumstance all start adrenaline pumping and pages turning.”
  • Embarrassment. Even in humorous fiction, characters should experience some suffering. Embarrassing situations are a perfect vehicle for this, and they will almost always create interesting plot developments.

Failure is also a reliable source of pain. Most of us have experienced some incidents of failure in real life. When I think of all my unfinished stories and abandoned novels, for instance, I tend to start feeling bad… And yet, my advisors at VCFA taught me that nothing is wasted, every word we write (good or bad) prepares us for what comes next. So, I try to remember that perfection is the enemy of progress, and that Jane Fonda was right when she brought the phrase, “No pain, no gain,” into prominence to promote her exercise videos.

A protagonist in pain can help us answer the following key story questions: Does this person have a goal? What is the purpose of this scene? If your character isn’t suffering, trying to keep from suffering, or trying to make someone else suffer, scenes can start to drag. In fiction, too much happiness can become humdrum.

So, embrace the pain when it comes knocking at your door. Learn from your fiascos and flops. And do something nice for your characters—inflict some misery on them. One day, they’ll thank you for it.

 

 

New Year’s Resolutions and New Projects

2016 is gone. It is over. Like it or not, it is time to accept that it is 2017.

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I tend to make my resolutions in the fall during the Jewish High Holidays. I try to look at my last year with introspection, reflection, humility, and objectivity. It’s not easy. For me, it’s easier to do while spending hours in synagogue trying to think of something other than food. But this year, given the year that it’s been, I’ve done some self-reflection at the more traditional time. Here are my resolutions:

  1. Be happy.
  2. Be kind.
  3. Be thoughtful.
  4. Appreciate every day as a gift.
  5. Appreciate everyone who touches my life.
  6. Act against those who, no matter how hard I try I cannot appreciate, by making phone calls, sending emails, signing petitions, unfriending, or flat out ignoring.
  7. Read stories that make me happy, stories that make me think, stories that are inclusive and filled with tolerance and love.
  8. Write stories that show happiness, thoughtfulness, inclusivity, tolerance, and love.

As of a few days ago, my most recent project went out into the world. It is gone. It is over (until, knock wood, an editor asks for revisions). It is time for me to move on to the next project…And boy, do I have a doozy in the works! It is dark, ugly, historical, frightening, and timely. I am SO friggin’ excited to write it!

When I am working on a project, my desk tends to look like Albert Einstein’s.

As I finish one project and move on to another, I need to reboot my brain and my office.

I’ve spent the last month getting my brain organized to tell this story. I’ve even made an outline (not something I have ever done before and which may be the subject of some future blog post).

Most importantly, I’ve cleaned my office.

 

I’ve printed out maps,

created a playlist,

read a stack of books,

tracked down newspaper articles,

and printed out photos of what my characters will look like.

 

 

Now I am ready to write!

Like it or not, it is 2017. We are entering a new era. I am determined to hold to my resolutions. I am determined to write this story AND sell it because it needs to be told.

 

 

“I am one with the Force. The Force is with me.” Chirrut, Rogue One

May the Force be with you.

 

 

How to Win (or Lose) Writing Contests: Tips from a Judge

img_0538Over the last ten years, I’ve judged a dozen or more writing contests. The writers have ranged from elementary school kids to published and not-yet-published adults, and the prizes have been as varied as a certificate with a gold star, a live reading by a professional actor, advice from a hot agent or mentoring by a published writer, but the winning submissions did the same things right.

I can’t guarantee that if you follow my advice you’ll snag the top prize, but you’ll probably make it through more rounds than if you don’t.

When judges get a pile of contest submissions, they do a first cut. They don’t want to spend a lot of time considering stories or poems that don’t have a chance of winning. Their goal is to eliminate the “losers” fast.

So how do you survive the first cut?

  1. Follow instructions. If there’s a writing prompt or a theme, submit a piece that fits it. Don’t send in your WIP thinking your brilliance will overcome the fact that it doesn’t conform to the rules. It won’t.
  2.  Proofread and spellcheck. Don’t give me an excuse to throw out your story because your grammar or spelling are atrocious, which I will— unless you’re a first grader whose inventive spelling makes me laugh so hard milk comes out of my nose.
  3. Match your synopsis to your submission. If your synopsis was amazing, but your story doesn’t fulfill the promise, I will be really disappointed.

Let’s assume you made it past the first cut. Between half and three quarters of the submissions have been placed in a “go no farther” pile. Sometimes, judges are given a rubric which tells us specific things to look for, like inventiveness, adherence to a theme, or compelling characters, and we use the rubric to winnow down the submissions to a handful that get serious consideration.

Sadly, only once have I been asked to write comments that would be returned to the writer explaining how they could improve their chances.

So here are some of the things I would say to writers whose pieces did not win.

4. Assume the bar is high and aim for it. Study published stories so you know what it takes to succeed.

5. Polish your story until it’s the best you can write it. Listen to your critique group’s concerns. It will only take a judge a page or so to determine if your story deserves another look.

6. Dump the cliches. The last girl in the universe who writes in a scavenged paper journal? Puh-lease.

7. It’s not you, it’s me. When you get down to the NCAA Final Four, any team can win. They are all that good. When judges gets to the final handful of contest submissions, any one of them could take the prize, so the final decision is entirely personal. The judges will choose what moves or intrigues them.

8. Don’t give up. (See 7.) If you’re honest with yourself, maybe your story needs more work. However, if you submitted a piece that your peers or advisors feel is compelling and perfectly written, then this wasn’t your turn, but you’ll hit it on the next try.

Author photo and book jacketCatherine Linka is the author of the series A GIRL CALLED FEARLESS. Find more advice from Catherine at her website: www.catherinelinka.com

Writers Dreaming

Hu Jundi

Hu Jundi

 

 

 

 

 

 

This is the writer’s journey, the deeper we dig into our characters, the more we are able to unmask monsters of our own. 

Rock Me

A cardboard cradle inhabits my character’s dream.

Cardboard rockers, cardboard corners fitted by torn slots.

A cradle that’s dwelt in its dream house for years,

rockers stilled on bare hardwood, gathering dust. Staled

by air it reeks like only old cardboard can, a scritch-scratch-scritch

from inside as if tiny claws or limbs scrabble to climb out.

A top has been fitted loosely on the cardboard cradle,

and the whole thing might be cleverly, or crudely made

to keep that crawling thing in or allow its escape.

Who knows? We’re always left to ponder,

paused in the trap of our nightly hallucinations,

questions such as these.

Not the best poetry, but dreams are useful things for writers. You might have noticed this is my character’s dream. And I’m using it to uncover something about her.

We’ve all heard the stories, inspiration for Stuart Little and Charlotte’s Web came to E. B. White through his dreams. A gift that has also come to singers, scientists and artists of all kinds. But this exercise is a bit different, this is about deepening your characters by letting them dream.

A friend of mine who studies Jungian psychology tells me the best way to understand a dream is to ask yourself what each element represents of you. In other words, you are not just the dreamer, but the cradle, the bed, the walls, the floor, and yes, the creepy creature trying to get out. What about your character? What does she dream? What images belong to her at night? How do they manifest and illuminate her deepest fears and desires? If each element represents her, what does this dream say about her?

Like the poem suggests, our dreams are nightly hallucinations, necessary to our psyche’s balance during the day. Which means your character’s dreams are full of telling details. Especially when her dreams turn, as ours do, from pleasure to torture, and express daytime tension and conflict as nightmares.

A word about disturbing dreams. My dream expert says that when you’re being chased in a dream, or otherwise overwhelmed by some dream villain, Jungian theory holds you should stop running, turn and confront the monster. This is how we discover what’s behind the monster curtain, because standing up to it reveals it for what it really is. And when it’s revealed, it loses power.

How like the hero’s journey this is. When your character uses her new tools to return to the fray, suck it up and confront the villain, she’s really confronting her own deepest fears. In other words, the real monster is not the physical thing, the villain, but the fear in the hero that she must overcome to face the villain. And how a character grapples with this fear throughout the story creates her emotional arc. You can use your character’s dreams to help you uncover and strengthen this arc.

I like doing this in free form poetry, present tense, but to relax your critical mind you might also try writing or drawing a character’s dream with your non-dominate hand.

Your character’s dreams may not always show up in your final manuscript, but they can help your character show up. A casual observer might not see it, but for me, the dream analysis below revealed what I’d been missing about my character’s inability to connect with others, that she’s a foster child.

Digging Down the Dream

If I am the cradle I have held up as such

through years of dust and disinterest.

If I am the room I have good, solid floors,

but my walls are plain and stark.

If I am the bed I feel empty and bare,

barely slept in. If I am the dreamer

I am puzzled and wry, lucidly dreaming

myself. If I am the creature

inside the cradle I am trapped

of my own accord.

                                        –zu vincent

 

 

Research That Rocks

What would a mountain lion do with human remains? Is it possible to murder someone with a proton beam? How fast can a knife wound across the chest bleed out? If your phone’s been hacked and someone’s spying on you, how would you know?

unknown-3These are just a few of the miscellaneous topics that writer colleagues and I have been researching. Interesting subject matter, yes, but time-consuming work to sift through the ocean of material out there to find the best answers. Which is why I’m trying to sharpen my search engine skills and get up to speed on things like cold calling experts. If you’ve ever wondered where to find information for your book, check out these tips from authors who’ve mastered the art of research. Effective techniques can boost writer productivity, add to story authenticity, and inspire the kind of arresting details that are, as John Gardner said, “the lifeblood of fiction.”

Research 101: Where does a writer begin?

Most writers begin with online research, because it’s convenient, free, and available 24/7. Sheryl Scarborough, whose YA mystery/thriller series debuts in February with the title, To Catch a Thief, uses the Internet to find “high quality, professional descriptions, images and videos for the settings and situations I’m writing about.” This includes everything from high school forensic classes to information on lifting and comparing fingerprints. The challenge is sorting through the surplus of data, so finding reliable websites is key. Here are five that Sheryl recommends:

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  • YouTube – If you want to learn how to do something, check YouTube. Most people don’t know that it’s actually the second largest online search engine, Google being the first. On YouTube, you can watch babies being born, surgery on almost everything, plumbing, dry wall installation, toy making, lock picking and cow milking. Seriously, there’s almost nothing you can’t find on the site.
  • Google Maps– You can customize a map to a particular area, put pins in multiple locations, compute distances, AND you can look at an actual corner or front of a building on Google Street View.
  • Zillow—This online real estate database is a great tool for writers who want to describe houses and neighborhoods in actual locations.
  • eBay—It’s not just for shopping. If you’re looking for the real McCoy, use it to browse for pictures of things from the past.
  • Central Intelligence Agency— https://www.cia.gov/library/publications. According to Sheryl, it’s a great tool for learning about a foreign country!

 Don’t forget about librarians; they are a tremendous resource.  “If you’ve got a good librarian,” Sheryl says, “you’ve struck GOLD!” 51vfdcq7jml-_sy412_bo1204203200_

It was research librarians who helped Meg Wiviott, author of the picture book, Benno and the Night of Broken Glass, and the YA novel, Paper Hearts, with one of her greatest challenges—finding a German map from 1938 that could provide her with the name of a street in Berlin in the vicinity of the Neue Synagogue. This was “not something that could be googled,” Meg explains, “because Berlin was heavily bombed and damaged at the end of [WWII] and modern day streets might not have existed back in [the year the story was set].”

Keith Raffel, best-selling author of five adult thrillers, says he does a lot of his research in libraries. In fact, he’s even traveled across the country to work at specialty libraries.

cover_temple_mount_medcover_fine_dangerous_season_med_02For his fourth book, A Fine and Dangerous Season, Raffel spent time at the John F. Kennedy Presidential Library in Boston, where he “used a bunch of memoirs, a book of transcripts from the Cuban Missile Crisis, and a book showing what the White House looked like in the Kennedy years.” He also travels to foreign cities to do research first-hand as well.

In addition to working with libraries, Meg contacts universities, museums and historical societies to research her historical fiction. The artifact at the heart of Paper Hearts, for example, is held in permanent collection by the Montreal Holocaust Memorial Centre. After traveling to Montreal to see the heart and talk to filmmakers, Meg “read broadly on the Holocaust, the Final Solution, and the Nazi death camps,” before narrowing her focus “to Auschwitz, the work kommandos, the companies who contracted with the Nazis to use prisoners as slave laborers, and survivor stories…” Finally she interviewed the surviving daughter of her novel’s real life main character.

unknown-1 Her only problem was knowing when to stop. “Research,” Meg says, “is an addictive pit I can easily fall into.”

 How can a writer find the sources she needs? Are there interviewing do’s and don’ts?

Most of the books I’ve worked on have required some form of outside research. As a result, I’m always looking for professionals to interview. I’ve talked with surgeons, EMTs, firemen, plumbers, electricians, pharmacists, trainers, venture capitalists, hackers and cyber security sleuths for my writing projects. While there’s no one right way to find an expert, it’s a good idea to cast a wide net, because you never know who’s going to deliver.

Post what you’re looking for on Facebook.  “I needed a very specific genetic marker for To Catch a Killer,” Sheryl explains. “I didn’t even know if [what I wanted] was possible, but if I could find it, it would completely tie my story together. I put up a request on Facebook for a referral to a geneticist and within a short period of time, I heard from a VCFA friend with the name of her friend who was a student studying genetics AND she gave me the perfect [genetic] anomaly. It was amazing.”

Approach people with confidence. After all, you are a professional too. “You can just walk into a police station and ask to talk to someone on staff,” Keith explains. He did this while writing his first book, and immediately they “sent someone out who explained how the department was organized, where they hold prisoners, etc.” When Keith needed help on what a mountain lion would do with human remains, he cold-called “a state expert in Sacramento who, while initially skeptical, was in the end terrifically helpful.” And when he needed help figuring out how to commit murder with a proton beam, he “finagled an introduction to a Stanford physics professor who’d worked at SLAC back in the 60s,” and emailed the professor questions about how that might work.

Fortunately, people tend to get genuinely excited and want to be helpful when you tell them you’re writing a book. You can interview people by email, by phone or in-person—but research your topic beforehand so you’ll sound intelligent and prepared when you talk.

Writer research can require a thick skin and sometimes a sense of humor. I’ll never forget the strange looks an electrician and his crew gave me when I plied them with questions about death by electrocution. Or the day I was online researching hidden cameras, and a chat window popped up with a smarmy salesman who began detailing the different ways I could watch other people in secret. It was creepy, but I stuck with it and got some helpful information. (Of course, you may want to delete the digital cookies that some of these sites leave on your browser. You never know what kinds of ads may start popping up!)

How should a writer thank her sources? Is payment ever required?

Payment is usually not necessary. The best way to thank people is to mention them in the Acknowledgments Page and send them signed copies of your book.  “Of course, when I met people for a meal or drinks, I picked up the check,” Keith adds. “I always followed up with a thank you email or note… asked them how they wanted to be acknowledged… invited them to the publication party and called them out there if they came.”

Realize and accept that most of what you learn will never make it into your story. But in the process, you may discover the subject for your next book!

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Waiting In Between Revisions

I’ve recently finished what I hope is the “final” revision of my WIP and sent it out to a trusted reader. Now I wait…

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Waiting is extremely difficult, but something writers must deal with regularly. We wait between drafts, to give ourselves space from our own words. We wait to hear from our beta readers, who help us to birth our “babies”; and from our agents, whom we trust with our newborn creations. If you noticed a birthing theme it is because I recently spent three weeks helping my daughter and her husband after the birth of their second child.

img_1491Helping to care for this newest member of our family and his 2.5 year old brother was a joy (though and exhausting one). Not only did it feed my soul as a parent, but it also fed my writing soul. The timing of this child’s birth coincided perfectly with my work on my WIP. (Yet another reason I count myself as lucky). I was at that point where I needed to put it down and walk away. Putting a story out of my mind, after it’s been priority #1 for months, is not something that comes easily for me. But this time it was oh, so easy. I forgot all about plot structure, objective correlatives, character growth, and historical accuracy and thought only of changing diapers, playing “choo-choos”, doing laundry and dishes, going to the playground, playing cars and reading books, and doing more laundry.

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In the week that I’ve been home, I re-read my story, tweaked it, and sent my “baby” out to be read. Now I am left with nothing to do. I know some writers move on immediately to their next project. They start researching and plotting and pre-writing. I can’t do that. I can work on smaller projects: picture books that will never see the light of day, or that pb biography of the sculptor whose story really should be told but I can’t quite figure out how to start. But even that sucks too much of my attention and I’ll have a hard time shifting gears to go back to make the revisions in my WIP I know are coming. I have cleaned my desk, though. It might not look like it to some of you, but trust me, THIS is clean.

So instead of moving onto my next project, I’ve returned to my life. It’s been nice to catch up with friends I didn’t see for the three weeks I was away and whom I ignored for the months prior to that when I was writing (thankfully, I have good friends who understand my obsessive work schedule). I’ve also been binge watching “Orange is the New Black” (which I started while rocking an infant while his mother napped). And I’ve been knitting, which I can do while binge watching “Orange is the New Black” so at least I feel as if I’m being semi-productive.

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Waiting is part of the process. And as exasperating as the waiting is, I wouldn’t trade it, or any other irksome part of the process (and there are a lot of them)  for anything.

 

 

 

Lessons From a High School Reunion I Didn’t Attend

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My 40th high school reunion took place this week about 400 miles away. I didn’t attend. So I had a virtual reunion the following day: at home, in my sweats, looking at Facebook photos of people I haven’t seen for years. I recognized many of the women and almost none of the men, who seemed to have sent their middle aged fathers in their places.

I was deeply affected by a collection of photo booth pictures in which alums posed with spouses or besties from high school. I scrolled through the friends arm in arm and wondered aloud, “Were they actually best friends in high school? I don’t remember them even hanging out together.”

The more I scrolled, the more disoriented I felt. Then I got on the phone with my high school best friend, who had gone to the event, and she identified some of the unknowns and we chatted about who was there and who hung out together. She clued me in to some of the long term friendships I had missed, which was most of them.

I started obsessing about those friendships that had escaped my notice. Then I wondered why I couldn’t stop thinking about them. I blamed my own myopic nature for missing the connections around me as I grew up. I felt dull and unaware. I wondered if I still was.

What does this have to do with writing? you ask.

A lot.
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Relationships are everything in storytelling. I’ve been putting a lot of effort into establishing relationships in my main character’s family, his classmates and the people in his small village. But I haven’t thought much about the relationships in the background: how his brothers felt about each other, or how they feel about the kids down the road. Or whether or not my character’s mother has a friend in the village. I’ve kept my spotlight shined only on my main character and thus others stay in the dark, waiting only to come on stage when they are needed.

But now I can imagine a richer world. My character’s brothers could be competing over the affections of the same girl. His mother might feel alienated and lonely in the village, with no one to trade with or gossip with. His father could have a temper that the nearest neighbor witnesses, but keeps secret. His teacher may love the candle maker.

The best books have a thick web of connections, not all of which are directly related to the main character. Each new possibility offers new small plot contributions, denser air around the central story.

What are the unseen connections in your novel? How could you rethink the background relationships in your story? Perhaps what you haven’t paid attention to matters more than you think.

EAT, PRAY…SCHOOL VISITS!

When my book first came out in June 2015 I knew I wanted to do school visits.  The only problem was, I had no idea how.  To be honest, I was a little scared of the idea.  On paper, it sounded great.  In real time, it sounded like a panic attack–me in an auditorium with 300 elementary school students?  The prospect sounded daunting.

Soon I received my first invite from a friend who taught 6th grade to come and do presentations for his students (four classes in total, around 120 kids).  Now I had a deadline and I had to deliver.  I needed to create content, craft a presentation, and make sure that I could speak in front of a crowd. I immediately scoured the internet to see what information could be found on school visits.  I don’t know if you know this, but there is very little on the internet regarding school visits for children’s authors.  I was surprised, and then worried, because I needed help, and fast.

Here are a few things I learned in my “Year of School Visits”.

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Jen and Bookseller, Alexandra Uhl—The Whale of a Tale Bookshoppe

Ask for Advice from a Seasoned School Presenter: After my internet search fail, I reached out to talented author, presenter, and friend, Julie Berry.  (Hi, Julie!)  She is amazing.  For the price of a delicious bowl of ramen she walked me through her awesome presentation, told me how to talk to schools about author and administration expectations, and opportunities for book sales.  Julie was a gem and helped me see in a very real fashion the logistics of creating a great school visit that would be beneficial to me, the students, and to the school.  From her example I was able to tailor a presentation fit to my needs.  At the end of our chat, she also gave me a great bit of advice: Do as many school visits as possible in my first year to gain experience.  So that is what I did.  I presented to whole schools, small classrooms, book fairs, book expos, book clubs, writing groups, elementary schools, middle schools, and to teachers.  It has been one of the best things I’ve ever done.

(Best advice, Julie!  Thank you again.)

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Jen and Julie Berry

Look-Act-Be Professional: Of course as authors, we want to look the part and like we know what we’re talking about.  So shower, wear clean clothes, perform basic hygiene, and don’t forget to smile.  Looking professional seems pretty straightforward. But something I hadn’t really thought of was if my presentation looked professional.  In my case, I created a PowerPoint presentation, with various pictures and videos, along with written content. Think of yourself as a logo or trademark.  What do you want to convey?  What kinds of books do you write?  What images or ideas do you gravitate towards?  Whatever it is, make it visual and place it throughout your PowerPoint so it looks cohesive.  In my opinion, a well-placed theme makes you, as the author, more professional.  Another important point is to create a document that outlines what you present and for how long, so the school can get an idea of what to expect.  You want to inspire the students, but that won’t happen until you get past the gate keepers (teachers and school administrators) and show the school how valuable you can be as an inspiration and a teaching tool.

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Lone Peak Elementary

Think Like a Kid: As authors for children and young adults, this probably isn’t very hard. But it goes without saying, that whatever your younger self would find interesting, would now interest your younger audience.  In my case, I wanted to show videos of various animals in their natural habitats and talk with my listeners about how to survive. (After all, my book is SURVIVAL STRATEGIES OF THE ALMOST BRAVE.)  The videos were a huge hit and a favorite of both teachers and students.  I loved talking with the students about survival strategies, Darwin, how humans have their own survival skills.  I also talked about the writing process, creativity, reading, my book, and my journey as an author.  Which brings me to my next thought….  think like a kid

 

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Jen with her sisters when she was young. Grand Canyon.

Get Personal…But Not Too Much: Of course you want to tell the audience about yourself.  They are interested in you as an author— what you were like as a kid, what books you liked then, what you like now, and maybe an embarrassing author photo or two, but don’t make the mistake of top loading your presentation with ME, ME, ME.   The students want to relate to you, but they also want to learn something about reading, writing, and your book.  If you’re too busy telling stories about yourself, you can’t convey the rest…which is really important, too.

 

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Indian Hills Middle School

Expect the Unexpected: In my “Year of School Visits” I learned that what can go wrong, probably will.  Sometimes you plan, prepare, check and double check, and things still go wrong.  All you can do in these circumstances is smile and work through it.   To help with any technology glitches, makes sure you carry whatever you need on an extra thumb drive.  Also, I always brought my own computer and ran my presentation through it.  This was helpful because the software I needed to run my presentation was already there.  One time the presentation on my computer wasn’t translating well into the school’s media and speakers, so I did the presentation without sound, but we rolled with it.  Be prepared for your media not to work.  What will you do then?  Do you need handouts?  An activity where the kids can get up and help you?  A game?  A writing prompt? Are you going to read from your book(s)?  I always suggest doing a short reading, it makes everyone in the room your instant fan.

 

Over Prepare: Sometimes you think you have your presentation planned out perfectly and then you end twenty minutes early.  Now what?  I always over prepare.  Before your visit ask the teachers to read a chapter of your book to the kids, or have your books on hand in the classroom and the library.  Kids and teachers who have read your work, are generally more excited to have you there.  Place your first chapter on your website so everyone has an opportunity to sample your work.  Also, plan extra content.  In my PowerPoint presentation I have extra quotes, writing activities, a game, and sections of my presentation that mostly go unused, unless, SURPRISE, I have more time than needed.  After presenting at a middle school and an elementary school, I now have two PowerPoint presentations:  one for elementary, and one for 7th, 8th, and 9th  You can tailor the same content for different ages.  You must have a bag of tricks to pull out when things don’t go as expected.  Consider it your SURVIVAL BAG.Felix

 

If You’re Not Having Fun, You’re Doing It Wrong: Have fun! If you don’t look like you’re having fun, the audience will feel it. Act like you’re speaking to some of your closest friends—they like you, you like them, and it is fun to be together.  A school visit should be the same kind of experience.  If you hate getting up in front of an audience, but love to talk about writing, maybe a smaller group is your best choice.  Figure out what works for you and then do that.

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Rancho Canada Elementary

 

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Vista Verde Elementary

I have to say, after I got over my initial nervousness, and built a great presentation with fab content, doing school visits is one of my most favorite things.  The kids are awesome!  How often can you interact with kids who have read your book, or who want to read your book, or who are just plain happy to see you?  I have made great friends– especially lovely librarians and booksellers who have, and still continue, to give me their best help and advice.  So get out there, people!  Share your genius.  School visits are a very good thing.