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Archive for the ‘Writing Courses’ Category

Before I share Melissa’s wonderful post, there are a few things I want to announce.

The winners of my book and critique giveaways are Cathy Ogren and Kim Delude. Cathy has won a copy of Sienna, the Cowgirl Fairy: Trying to Make it Rain. Kim has won a critique on the first three chapters of her chapter book. Congratulations! Thank you to all who participated in the giveaway by commenting and sharing the link.

September is Chapter Book Challenge Lite month (a.k.a. ChaBooCha Lite). This is another chance for writers to challenge themselves, and to give themselves a deadline for writing a book. The goal is to write the first draft of an early reader, chapter book, middle grade book or YA novel within a month. Want to join the fun? Sign up here.

 

I am pleased to have my friend, Spork sister, and fellow Chapter Book Challenge member Melissa Stoller as a guest blogger today. She is offering a chance to win your choice of a copy of her book, The Enchanted Snow Globe Collection: Return to Coney Island, or a chapter book critique (first three chapters), or a picture book critique. All you have to do is comment. Be sure that your name is on the comment.

TOP TEN FACTORS TO CONSIDER WHEN CHOOSING TO WRITE A CHAPTER BOOK VERSUS A PICTURE BOOK

by Melissa Stoller

My debut chapter book, THE ENCHANTED SNOW GLOBE COLLECTION: RETURN TO CONEY ISLAND, released from Clear Fork Publishing shortly after Alayne’s chapter book, SIENNA THE COWGIRL FAIRY: TRYING TO MAKE IT RAIN. I enjoyed following Alayne’s posts about the differences between picture books and chapter books here and here. And I blogged about writing chapter books as well here and here.

Melissa with book

When Alayne asked me to comment further about this topic, I wondered what I could add that would be new and fresh. I decided that a Top Ten List would do the trick. So here goes:

TOP TEN FACTORS TO CONSIDER WHEN CHOOSING TO WRITE A CHAPTER BOOK VERSUS A PICTURE BOOK:

  1. Length of the Book – In a chapter book, the author has room for more words. I tried to keep each of the ten chapters of my book to approximately five hundred words each. That was a general rule I used for my own planning purposes but I think it helped to keep each chapter on track. And in picture books, I aim for the sweet spot of approximately five hundred words. So just by doing the math, it is apparent that I would tell a story much differently in 500 words rather than 5000 words. I liked the longer format a chapter book afforded me to tell this story.
  2. Age of the Characters – My main characters are nine-year-old twins. Generally, young readers enjoy reading about characters who are a bit older than they are. The book is geared to children ages 5-8, with the main characters falling just above that mark. This older age of the main characters fits in perfectly with a chapter book structure.
  3. Age of the Reader – In a chapter book, the reader can be a bit older and may be more sophisticated than the reader of a picture book. The sweet spot for picture books is generally 3-5 years old. The sweet spot for chapter books is generally 5-8 year olds. These ages tend to fluctuate and the lines get blurry, but that’s how I categorize them in my mind. Writing for each age group has its rewards, you just have to know your audience.
  4. Number of Characters – The common wisdom is that the fewer the characters the better in a picture book. Picture book writers generally stick to a few characters so that the plot is tightly woven. In a chapter book, that general number of characters can expand. In my book, the main characters are twins. Plus, I include their grandmother and her dog Molly, and then Jessie and her two sisters Anna and Pauline, and finally Jack. They all had some character development (some more than others) and I had the time and word count to include relevant details and dialogue to shape them. In a picture book, there just isn’t the word count, the attention span of the young reader, or the availability of plot to include so many characters.
  5. Complexity of the Plot – A picture book usually focuses tightly on one problem or issue, and one or two characters who are somehow growing or changing. That is enough for the young reader who is the target audience for the picture book. In contrast, a chapter book’s plot can be more complex, and can have more sub-plots, twists, and turns.
  6. Dependence on Illustrations – Whereas the magic in a picture book comes from the meeting of the text and the illustrations, in a chapter book the magic usually comes mostly from the text. The chapter book illustrator enhances the story and helps bring the story to life, but usually there are only a few full-page and/or spot illustrations per chapter. The book is not dependent on illustration as a picture book is (hence the difference in title between a picture book and a chapter book).
  7. Dialogue – A picture book usually doesn’t have excessive dialogue because there is a potential for the characters to just seem like “talking heads.” Of course there are exceptions and there can be dialogue-heavy PBs, but generally I try to keep PB dialogue to a minimum. In contrast, chapter books are filled with more dialogue and description as they present a well-rounded view of the characters and plot.
  8. Enough Material for Ten Chapters – A typical chapter book is broken down into ten chapters. Ask yourself these questions: do you have enough story to fill in these chapters? Does your story arc have a complete and satisfying beginning, middle, and ending? Or could you condense the story into approximately 500 words that will be enriched by illustrations? Also, try to make sure that each chapter has a mini story arc with a beginning, middle, and end, and the transition to the next chapter contains a small cliff-hanger to help the reader maintain interest.
  9. Writing Time – Because chapter books are longer and the plots are more complex, the author can spend more time with the characters and plot (of course writing picture books and chapter books both take tremendous time in the brainstorming, writing, and re-writing phases). In my case, I love my chapter book characters and this story line so I’m happy to have more time with them. I enjoyed fleshing out their emotions, their characteristics, details about their appearance and dress, their dialogue, and their adventures.
  10. Series Potential – I know that an author is not supposed to be concerned with series potential when writing a picture book or a chapter book. However, I must admit that when writing THE ENCHANTED SNOW GLOBE COLLECTION, I did think about, well . . . a collection! I envisioned twins shaking many snow globes in their grandmother’s collection, and each time they did, they would be transported to a different time period and location. When writing a picture book, I might think, wow, this could really lend itself to a sequel. In fact, SCARLET’S MAGIC PAINTBRUSH is my debut picture book being published by Clear Fork Publishing in 2018, and I’m hard at work writing the sequel. But I would not envision designing a whole picture book series.

So there you have it . . . ten factors to consider when deciding whether your story is more suitable to a picture book or a chapter book. And of course, these are my top ten factors . . . you might have your own distinct top ten. Whatever you decide, make sure you set yourself up for success: work closely with your critique partners; hone your craft by participating in writing classes such as The Children’s Book Academy Chapter Book Alchemist, and writing communities such as the 12 x 12 Picture Book Writing Challenge, The Chapter Book Challenge, The Debut Picture Book Study Group, KidLit411, and many others; join the SCBWI and your local SCBWI chapter; and immerse yourself in the world of children’s books. Reading, writing, and being part of the KidLit community has truly inspired my work – and it’s been so much fun as well! Melissa book

I look forward to reading your books, and I know that whatever format you choose, it will be the best one for you.

_ _ _

Thanks, Alayne! I loved being featured on your blog. And I’m excited to read more of your upcoming chapter books and picture books!

_ _ _

Alayne: Thank you, Melissa! I look forward to reading more of your work as well.

 

Melissa head shot  About Melissa:

Melissa Stoller is the author of the debut chapter book THE ENCHANTED SNOW GLOBE COLLECTION: RETURN TO CONEY ISLAND (Clear Fork Publishing, July 2017); the debut picture book SCARLET’S MAGIC PAINTBRUSH (Clear Fork, March, 2018); and THE ENCHANTED SNOW GLOBE COLLECTION: THE LIBERTY BELL TRAIN RIDE (Clear Fork, April 2018).  She is also the co-author of THE PARENT-CHILD BOOK CLUB: CONNECTING WITH YOUR KIDS THROUGH READING (HorizonLine Publishing, 2009). Melissa is a Regional Ambassador for The Chapter Book Challenge, an Admin for The Debut Picture Book Study Group, an Assistant for Mira Reisberg’s Children’s Book Academy, and a volunteer with SCBWI-MetroNY. Melissa writes parenting articles, and has worked as a lawyer, legal writing instructor, and early childhood educator. She lives in New York City with her husband, three daughters, and one puppy. When not writing or reading, she can be found exploring NYC with family and friends, travelling, and adding treasures to her collections. Find Melissa online at www.MelissaStoller.com, MelissaBergerStoller (Facebook),  @MelissaStoller (Twitter), and Melissa_Stoller (Instagram).

 

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giftPRIZE ANNOUNCEMENT

In my last post MY GIFT – YOUR GIFT, I asked people to share inspirational quotes or short stories as gifts to others. In return, those who participated were included in a drawing to win complimentary admission to my picture book writing course Art of Arc. I also offered two Art of Arc students or alumni complimentary picture book critiques. I’ve decided to give a bonus gift, so three people have won the course and two have won critiques. Congratulations to the following winners!

COMPLIMENTARY ART OF ARC COURSE

Ann Magee

Julie Bergmann Lacombe

Chris M. Regier

COMPLIMENTARY CRITIQUE

Gabrielle Schoeffield

Linda Schueler

 

A fun drawing by Teresa Robeson from her blog ONE GOOD THING.

A fun drawing by Teresa Robeson from her blog ONE GOOD THING. Click on the image to see more of her work.

 

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JUST SAY NO TO NEW YEAR’S RESOLUTIONS 

I first offered a version of this post in 2012. It was titled THIRTY-ONE JUST FOR FUN. Each year since, I’ve modified my original post and reposted it. Before I share the 2016 modified version, I’d like to thank everyone who has supported my blog and me throughout the year. I wish you all a very Happy New Year. May the New Year bring each of you all that your heart desires.

Now for JUST SAY NO TO NEW YEAR’S RESOLUTIONS. . . .

A common question in life coaching is, “What’s the difference between a life coach and a therapist?” The answer goes something like this: Imagine you are driving a car through life with a psychotherapist as your driving instructor. The psychotherapist will spend a lot of time instructing you to look through your rearview mirror at where you have been. A “life coach” driving instructor will encourage you to look out your windshield at where you are going.

A NEGATIVE DRAIN

Today, I am going to swim against the life coaching current and ask you to look back at where you have been. New Year’s resolutions often have roots in the past. We look back, with a certain amount of regret, at what we failed to accomplish in the outgoing year. Focusing on our shortcomings, we resolve to make up for them in the New Year; usually with bigger and better plans than before. Although setting these goals can leave you feeling hopeful, looking back with self-judgment can sap your confidence and drain your spirit.

ENERGIZE YOUR SPIRIT

Instead of looking back at your shortcomings with regret, look back at your successes with confidence and gratitude. Looking back and acknowledging your accomplishments will give you the opportunity to celebrate your successes and energize your spirit as you look forward to your new year.

YOUR LIST

Over the next couple of weeks, take some time to reflect on 2016 and list the things that you accomplished throughout the year. I hope you will celebrate your successes by coming back and sharing some of your discoveries in the comments section of this post or share them on your own blog. The most important part of this challenge is recognizing the positive, energizing events of 2016.

QUESTIONS TO HELP YOU GET STARTED ON YOUR LIST

  • How did you grow personally, professionally or as a writer?
  • Did you have a positive impact on others?
  • What writing skills did you learn or strengthen?
  • Did you improve organizational skills?
  • Did you find the secret to time management?
  • Did you complete any writing challenges?
  • Did you join any groups?
  • What personal strengths did you gain?
  • What goals did you achieve?
  • What unplanned accomplishments did you achieve?
  • What character qualities did you strengthen?
  • Have you improved your communication skills?
  • Have you gotten better at saying no to others, to yourself, or to activities that drain you?
  • What acts of kindness did you share?
  • What special, memory building moment did you have with family, friends, writing groups, by yourself and so on?
  • Did you submit any of your writing? If you want to challenge yourself to submit more in 2016 join my Sub Six private manuscript submission support group on Facebook.
  • Did any submissions get accepted for publication?
  • Did you get any rejections with encouraging notes?
  • Did you find a positive way to accept rejections?

For tips on celebrating your achievements see CELEBRATE YOUR ACHIEVEMENTS BIG AND SMALL. Be sure to scroll down to the section about the achievement jar, so you can celebrate all through 2017.

Below I share some my 2016 achievements.

  1. I signed a four-book deal for my chapter book series SIENNA THE COWGIRL FAIRY with Clear Fork Publishing. In the process, I met some great new friends and my fantastic editor Callie Metler-Smith.
  2. I attended the Big Sur Cape Cod workshop and spent time with my lovely friends Sylvia Liu, Victoria Warneck, and Teresa Robeson.
  3. I continued to help other writers via my Art of Arc course and critiques. And other writers helped me with some great critiques and brainstorming.
  4. I completed the Nonfiction Archaeology course.
  5. I made my first serious attempts at writing two different nonfiction picture books. And I found the courage to submit them!
  6. I celebrated many, many friends’ successes – book contracts, book releases, agent representation and so on. Go Kid lit Community!
  7. I took care of myself during rough times and celebrated my fun times with joy.
  8. I continued to practice one of my favorite author survival skills, which is write from the heart – submit with detachment. I also encouraged others with positive and inspirational quotes on Facebook and Twitter.
  9. I completed my 5th 12 X 12 writing challenge and had the pleasure of working as a 12 x 12 Critique Ninja.
  10. I ended 2016 by gifting my picture book writing course ART OF ARC: How to Analyze Your Picture Book Manuscript (deepen your understanding of picture books written with a classic arc) and some picture book critiques.

Now it’s your turn. Celebrate with us by sharing your accomplishments.

Best wishes in 2017! Wait, there’s more. This would have been my sixth year of participating in Tara Lazar’s PiBoIdMo (Picture Book Idea Month) challenge, but there have been some changes. My sixth year will have to wait until January 2017, and I will be participating in STORYSTORM instead. To read about the changes and how to register click on the following badge. Thirty story ideas in thirty days, with inspiration, great faculty, and prizes, too!

storystorm-badge

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This post was originally part of Marcie Flinchum Atkins’s blog seried WE’RE ALL IN THIS TOGETHER.

Marcie had asked the contributors to this series the following question: How do you keep yourself motivated? We all like to have written, but find it hard to stay motivated to write.

Following is my response to the question.

Some words my thesaurus gives for “motivated” are inspired, stimulated and encouraged. Some antonyms for those words are demotivated, uninspired, depressed and discouraged.

When it comes to writing, do you ever feel demotivated? Discouraged? Uninspired? Depressed or frustrated? What might be behind those feelings? Following are ten obstacles to consider when you lack the motivation to write. I have listed a few ways to combat each obstacle. Can you find some other ways of your own?

1. Fear
List the beliefs, thoughts, events, situations etc. that are behind the fear and find a way around those obstacles.

2. Lack of Knowledge
Take classes; read; ask questions; participate in writing community discussions; attend conferences; join a critique group; read blogs; join a group like Julie Hedlund’s 12 x 12, or kidlit411, or Sub Six, or WOW nonficpic, and many more.

3. Lack of Ideas
Join Tara Lazar’s PiBoIdMo; start an idea file; live life thinking like a writer – eventually you’ll hardly go through a day without hearing, seeing, smelling, tasting or feeling something that sparks an idea; ask other writers how they get ideas. This is a common question in author interviews, so read interviews.

4. Rejections
Read “We’re All in This Together” posts on rejection (post #1 and post #2) and my post on TWELVE METHODS FOR COPING WITH REJECTIONS.

5. Other People’s Successes
Instead of letting the green-eyed monster frustrate, discourage or depress you, do something nice. Congratulate the other writers. Buy their books. Share their success on your blog or elsewhere. Let their success inspire you. Believe the same is possible for you.

6. Feeling Overwhelmed or Overloaded
Take a break by doing enjoyable things that you have not allowed yourself to do for a long time. Cut yourself some slack and prioritize. Are all those “shoulds” spinning around your head really that important? See time management link in #10 this post. Journal, meditate, vent to someone that you know truly understands.

7. Distractions
Set limits on social media and other computer distractions. Find a place and time to write that is void of distractions. Are you a distracted mom? See Marcie’s “Mom’s Write” series.

8. Writing for the Wrong Reasons
Ask yourself why you are writing. If it is to become famous or make lots of money, those reasons might not be enough to motivate you after you’ve received a few rejections. They might not be enough to motivate you away from distractions. There has to be something in it that makes you want to write no matter what. Even if no one ever reads it, you are compelled to write. What makes you love writing? According to my Webster’s Dictionary, the definition for motivate is “To provide with a motive.” The definition of motive is “Something (as a need or desire) that causes a person to act.” What is your motive for writing?

9. Beating a Dead Horse
After sending the same story to your critique group twenty times, you might feel like you are beating a dead horse. After getting twenty rejections for the same manuscript, you might feel like you are beating dead horse. When going around in circles editing the same old five stories, you might feel like you are beating five dead horses. Try putting the dead horses away for a while and start writing five fresh stories.

10. No Time
Look at your time realistically. Are you trying to fit a 72-hour day into 12 hours? If so, you have too much on your plate and something must go. What will it be? When considering this, the first place to look is time wasters. Check out these time management tools.

Your turn: What keeps you motivated when things in your writing life get tough?

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roller-coasterA LITTLE OF THIS

This year has been one wild and crazy ride for me, and it seems it’s time to share just a little bit. The year began by purging my house of a lifetime collection of possessions, and by the time my husband and I were done in April, about two thirds of all we owned had been donated or sold. We also sold our house with no intention of moving into a traditional home or apartment. We moved onto our 35-foot sailboat. My husband retired in May, and our next step was to start our RV hunt, which did not go as smoothly as anticipated. Actually from the time we moved onto the boat, it seemed we had one challenge after another. But I won’t bore you with the details. Maybe another time. In July, we settled into our 43-foot RV just across the way from our boat. A beautiful setting. Yet, the challenges continued. We believe this month will be the last month of getting the creases out, and we can finally settle down and start traveling in November.

Did all this have an impact on my life as a writer? Oh yes. Big time! And even now that I’m finding my way in this new lifestyle, there are still challenges like inconsistent Internet, which drives me crazy. But, getting up each morning and looking out at the lake with our boat’s mast waving hello sooths my soul and all is well. I must also say that I’ve never seen so many beautiful sunsets in such a short time. Life is good.

In the midst of my madness, I was invited to write a guest post on maintaining your health as a writer. It took me a while to get around to it but it is finally here!

balance-writing-lifeThis month, I’m honored to share that Colleen Story is featuring my guest post HOW TO BALANCE AN OUT-OF-CONTROL WRITING LIFE on her blog and in her newsletter, WRITING AND WELLNESS: Putting the Power of You Behind Your Best Creative Life. I hope you’ll take a little time to read it and ponder the balance or lack of balance in your writing life. Thanks to Colleen for inviting me to be her guest.

A LITTLE OF THAT

Writer friends often express their struggles with rejection and the temptation to throw in the towel. So, I’ve been trying to post inspirational quotes here and there. I share a few of them below.

If you are thinking about or feeling like giving up, don’t do it! Hold your ground. “Victory is not won in miles but in inches. Win a little now, hold your ground, and later win a little more.”

– Louis L’Amour

“I have missed more than 9000 shots in my career. I have lost almost 300 games. On 26 occasions, I have been entrusted to take the game’s winning shot . . . and missed. And I have failed over and over and over again in my life. And that is why . . . I succeed.”

– Michael Jordan

“Perseverance is not a long race: it is many short races one after another.”

– Walter Elliott

“Fall seven times, stand up eight.”

– Japanese Proverb

I like the following quote because it not only applies to us as writers, but it applies to the stories we write as well. Think about it. . . . “If you can find a path with no obstacles, it probably doesn’t lead anywhere.”

– Frank A. Clark

This brings me to . . .

WHY ARE CHARACTER ARCS IMPORTANT?

In most picture books, the main character doesn’t just wander through the plot. They move through with purpose. They overcome challenges. And most importantly, the plot changes them. They learn from the events and challenges that the arc builds, and this is how they arrive at a satisfying conclusion/resolution. The tension and emotional core that the arc creates show the reader that the story is worth reading. It makes the reader care about the character and shows them why the story matters.

Art of Arc V3Whether fiction or nonfiction, if you’ve been told your story needs more arc, or it needs more tension, or it needs more heart, or it needs more focus, my Art of Arc picture book writing course will help you find what your stories need to take them to the next level. And it only costs as much as one professional critique.

Enjoy putting more balance in your writing life!

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12X12 NINJAOne of the many benefits of Julie Hedlund’s 12 x 12 group is the Manuscript Makeover section in the 12 x 12 forum. Members post their picture book manuscripts in the forum and critique ninjas pop in and offer critiques. Last month, I had the pleasure of being a critique ninja. I’ll be returning in September for another month as ninja. There are many talented writers in 12 x 12, and I read lots of stories – some fun, some funny, some touching – all creative. I found a pattern in many of the stories I read. They had elements of episodic storytelling.

 

Following, I provide a brief overview of episodic storytelling in an abbreviated lesson from my online picture book manuscript writing and analyzing course Art of Arc.

 

Rising Chaos

 

A while back, in response to a critique I had done for a chapter book, the author responded, in part, with the following:

 

“For me, rising action means adding story problems! Rising chaos!”

 

That’s one way I would describe an episodic story. While the story might be entertaining dogand move forward, it meanders. An episodic story reminds me a bit of the expression, “The tail wagging the dog.” For a while, the story is taken over by some fun and entertaining scene(s), but eventually it has to get back to the story as a whole – the one with a cohesive beginning, middle, and end. The entertainment is the tail – the dog is the main character who is being wagged by the tail – and as a result, your reader is also being wagged by the tail.

 

The story takes the reader down a meandering path that is disconnected from the other parts of the story. Perhaps the path is loosely connected because the protagonist is involved and there is some sort of loose connection to the character’s problem. But the question to consider is, how connected is each scene to the scene that came before and the scene that follows?

 

The goal in a picture book with a classic arc is to have scenes flow seamlessly, building off each other until they are so blended you don’t even notice the changes that lead up to the end.

 

In an episodic story, the scenes often feel disconnected.

 

The scenes feel erratic, and even though the scene itself might have some tension, it doesn’t add tension to the story as a whole. The story might be moving forward, but the reader has a sense that she is not getting anywhere.

Whackamole

In the picture book manuscripts I critique, I often find main characters taking action, going from one place (or one thing) to another with no real reason. It’s a little bit like the main character is playing a game of Whack-a-Mole. To the reader, it feels like the main character is spending all his time reacting to any obstacle that pops up. He has no real plan or reason for his actions – no real direction. Episodic stories lack focus and direction. Many times circumstances or other characters drive the direction the story takes, and the main character seems to go along for the ride. We see no change or growth in the scenes or in the story. One way that change and growth are revealed is through decisions.

 


SOME WAYS TO TEST YOUR PICTURE BOOK MANUSCRIPT FOR EPISODIC ELEMENTS

 

DOES IT MATTER WHERE EACH SCENE APPEARS IN THE STORY?

 

With storylines built via cause and effect, scenes rely on each other to tell the story and to build tension. What if you moved your scenes around? Would the plot change? If it doesn’t matter where a particular scene happens in the story, it is likely episodic.

 

ARE SCENE GOALS RELATED TO THE STORY GOAL (larger plotline)?

 

Although scenes stand alone, they also need to be steps in the story plot. How does each scene advance the story (related to the plot as a whole)? Does the resolution or discovery made at the end of one scene set things up for the next? Or stated differently, does the next scene start with something that stemmed from the prior scene – an event, a decision, an action – and then move on to something new that leads to the next scene?

 

IS THE RISING ACTION, RISING CHAOS?

 

Are the main character’s challenges independent problems that create a meaningless (as related to the big story problem) obstacle course for the main character?  How can the challenges all be connected to the common thread of the story? Resist causing unnecessary trouble for the main character. Even when the trouble is entertaining, fun, and exciting, if it doesn’t have “whole story” purpose, it is probably episodic.

 

Each of the main character’s challenges should involve the following:

 

  • Overcoming the obstacle for that portion of the story.
  • Have significance to the bigger story. Remember, the main character has a big story goal and then smaller goals as the story builds. The smaller goals should not be too far removed from the big goal.

 

IS THERE A GOAL DRIVING THE SCENE?

 

Why is the main character in this scene? Why is he taking action? Is he taking intentional action or is he just reacting with no goal in mind?

 

DO THE SCENES INFORM THE READER?

 

  • What will the reader learn about the story (as a whole)?
  • What will the reader learn about the main character?
  • Do these events and actions move the plot forward in a way that makes the reader care about the main character, become curious, want to know more?
  • What is the purpose of the scene?

 

At the end of this post you will find a couple of links that will lead to excellent posts on episodic writing. Although they are not about picture book writing, they still help clarify what an episodic story is and why it can be problematic. Although some people write episodic stories intentionally, I believe there is no room for episodic storytelling in picture books. Young children do not have the attention span to follow the chaos that is created in such a story.

 

Let me be clear about the above statement. I am talking about classic stories. There are picture books that may seem episodic, and at times that’s okay. Concept picture books are a good example. The reason these books can be episodic is because they are built around a theme or concept. Take a look at THE BELLY BOOK by Fran Manushkin or EVERYBODY SLEEPS (BUT NOT FRED) by Josh Schneider. Many of the events in these books could have happened at any point within the book (or story). But these books are not built around a classic arc. Every story you write will NOT need to be analyzed for episodic elements. However, if the story you are writing is built around a classic arc with rising action and cause and effect, watch for episodic elements.

 

In the Art of Arc Course, I list some books in the cause and effect section that have somewhat episodic segments, but they are still built around cause and effect. NO DAVID, by David Shannon and WHAT IF EVERYBODY DID THAT, by Ellen Javernick are a couple. Although many of the segments could appear anywhere in the book, these segments each have their own cause and effect.

 

In NO DAVID, David’s actions lead to a reaction from his mother. But eventually the sum of the events lead to a reaction from David and that event leads to the final reaction from his mother.

 

In WHAT IF EVERYBODY DID THAT, each time that question is asked the reader sees the effect.

 

In BECAUSE I STUBBED MY TOE, by Shawn Byous you will find a perfect example of how important the order of events can be. Everything that happens in this story is a result of the boy stubbing his toe, but it is also the result of the event that came before it. This is a true cause and effect book.

Copyright Alayne Kay Christian 2016

LINKS TO ARTICLES ON EPISODIC WRITING

 

Plotting Problems – Episodic Writing

By Marg McAlister

http://www.fictionfactor.com/guests/plottingproblems.html

 

From Moody Writing

Episodic Storytelling is a problem

http://moodywriting.blogspot.com/2012/11/episodic-storytelling-is-problem.html

 

IF YOU WOULD LIKE TO LEARN MORE ABOUT CAUSE AND EFFECT, EPISODIC STORIES, art of arc extraOR STORY AND CHARACTER ARCS contact me and ask about the new TRY IT plan where you can try the first five Art of Arc lessons for $35.00 – purchased with no obligation to buy the remainder of the course. You may contact me using the “contact” tab at the top of this page, or via my Art of Arc webpage.

 

An outline of the first five lessons follows:

 

WELCOME SECTION

 

The welcome section includes a nine-page supplement demonstrating sixteen different picture book structures with diagrams, descriptions, and book titles.

 

LESSON ONE: BEGINNINGS AND ENDINGS

 

  • Who is your protagonist?
  • What drives your protagonist?
  • Beginnings and hooks.
  • Who, what, where, when, why?
  • Story promise, reader’s expectations, and story questions.
  • Page-turners.
  • How the whole story connects to the ending.

 

This lesson includes supplemental materials that demonstrate the components of strong beginnings and endings. It also includes worksheets for analyzing published picture books and your manuscripts.

 

LESSON TWO: BEYOND THE HOOK

 

  • Setting the hook.
  • Creating a connection with the reader.
  • Inciting incident.
  • Ways to keep the reader reading.
  • More on page-turners.

 

This lesson includes supplemental materials that demonstrate the components of strong beginning and endings. It also includes worksheets for analyzing published picture books and your manuscripts.

 

LESSON THREE: OVERVIEW OF PICTURE BOOK PLOT STRUCTURE

 

  • Story arc (plot development)
  • Character arc (character development)
  • Questions to ponder
  • Small, scene goals
  • Tension
  • Feelings
  • Character turning points

 

LESSON FOUR: CAUSE AND EFFECT

 

  • What is cause and effect and why is it important
  • Diagrams
  • Writing exercises
  • Worksheets
  • Examples
  • Bonus supplement with links to additional info

 

LESSON FIVE: EPISODIC STORIES

 

  • What is an episodic story?
  • What causes a story to be episodic?
  • Worksheets and tips for testing your story for episodic elements
  • Links to additional info

 

 

 

 

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UNEARTH YOUR PROTAGONIST’S TRUE GOAL.

By Alayne Kay Christian

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CAN YOU DIG A LITTLE DEEPER?

In my picture book writing course, Art of Arc: How to Analyze Your Picture Book Manuscript, I talk a lot about consequences. What does the protagonist stand to lose if he does not solve his problem or reach his goal? Why is it important to him on a personal level? This is one way to get your readers to connect with the protagonist on an emotional level. That connection makes the reader want to keep reading.

Sometimes, writers have difficulty giving their protagonist a strong goal that will carry the story and engage the reader. I often fall back to my life coaching days when I think about story characters, and I’d like to share how I relate character goals to coaching clients’ goals.

Very often, clients come to a life coach with surface goals. One of the first things I do with new clients is work to get to their deeper goals. The goals that really matter. The goals that will motivate the client and drive her to take action. If after exploring and digging, the client can’t unearth her true desires, I try a different approach. I ask the client what she doesn’t want. It seems that it is much easier for most people to identify and express what we don’t want. And this brings us back to our story writing. When searching for a strong goal, try asking yourself, “What is my main character trying to avoid? What does he NOT want?”

One more little tip along the same lines. A main character’s goal can be something he doesn’t want. And that is what I will leave you to think about today. Now for some exciting news.

 

AWARD WINNER, A MORNING WITH GRANDPA HAS BEEN RELEASED!

gong gong cover

 

Books that we authors write often feel like our babies. Books that our critique partners write can sometimes feel like nieces and nephews. Today, I would like to welcome my new little niece into the world. The winner of the Lee & Low New Voices Award, A MORNING WITH GRANDPA was written by my friend and critique partner Sylvia Liu. The fabulous illustrations were created by Christina Forshay.

Gong gong signing

Sylvia signing preorders at Prince Books in Norfolk, Virginia.

gong gong book shelf

On the shelf!

REVIEW

By Alayne Kay Christian

Inquisitive, bubbly Mei Mei watches Grandpa “dance slowly among the flowers in the garden.” He moves “like a giant bird stalking through the marsh.” His arms sway “like reeds.”

“What are you doing, Gong Gong?” Mei Mei asks. And this starts a dance between inquisitive, bubbly Mei Mei and patient, loving Gong Gong. Every page walks the reader through this beautiful, playful relationship. Mei Mei’s creative attempts to follow her grandfather’s tai chi moves bring smiles when I read and explore all there is to see in the illustration. While I keep smiling, the end tugs at my heartstrings as the dance continues with a fun but touching role reversal.

Sylvia Liu and Christina Forshay are perfect dance partners as well. Liu’s wonderful storytelling with lovely lyrical language paired with Forshay’s lively, flowing illustrations create a dance of their own. It’s a winning combination! As a mother, grandmother, author, and picture book writing teacher, I highly recommend this beautiful book.

Gong Gong spread 2

Art by Christina Forshay, used with permission from Lee & Low Books

 

MORE REVIEWS AND SOME GREAT INTERVIEWS

I considered interviewing Sylvia, but there are already some excellent interviews and other reviews out there, so I thought I would share the links to them.

Lin Gong offers a review and a great interview.

The Reading Nook Reviews gives an extensive review.

Kirkus Reviews offers their praises of A MORNING WITH GRANDPA.

Publisher’s Weekly offers their views here.

Yvonne Mes interviews Sylvia with questions about winning the Lee & Low New Voices Award and much, much more.

 

Sylvia NewSylvia Liu was inspired to write this story by the playful and loving relationship between her children and their Gong Gong. Before devoting herself to writing and illustrating children’s books, she worked as an environmental lawyer at the U.S. Department of Justice and the nonprofit group, Oceana. She lives in Virginia Beach, Virginia, with her husband and two daughters. This is Sylvia’s debut picture book. Visit her online at www.enjoyingplanetearth.com.

 

Christina ForshayChristina Forshay is a full-time illustrator known for her colorful images and joyous style. Born and raised in sunny California, she was inspired to become an illustrator by her many visits to Disneyland and by watching hours of cartoons as a child. Today, she still watches cartoons for inspiration for her illustrations! Christina lives with her husband, son, daughter, and two dogs in California. Visit her online at www.christinaforshay.com.

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FIRST A LITTLE INSPIRATION

EVERY DAY BIRDSAmy Ludwig VanDerwater, author of FOREST HAS A SONG and EVERY DAY BIRDS, challenged Today’s Little Ditty readers to write poems about small things— animals or objects you see everyday and don’t give much thought. I took the challenge, and I’m honored that my piece was selected as the poem that will close out Today’s Little Ditty’s month of small beauties.

little dittyToday’s Little Ditty is a great blog to follow. It offers tips and prompts for writing various forms of poetry, wonderful interviews, and fantastic examples of poetry. It’s well worth checking out.

Following is my little ditty.

 

 

SOMEWHERE BETWEEN NIGHT AND DAY
by Alayne Kay Christian ©2016

As the morning light steals the night
A new day is on the horizon
I am drawn to the eastern sky

In complete silence
The bright morning star calls to me
I am one with the Universe
Of this I am never more certain than
Somewhere between night and day

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In the sharing of this poem, I wish you many moments of quiet peace.

OVERCOMING SELF-DOUBT and FREE GIVEAWAY

revimo 2016In January, I was a guest blogger for Meg Miller’s ReviMo challenge where I wrote REVISING YOUR WAY TO DREAMS COME TRUE. If you are struggling with frustration or self-doubt, you might feel renewed after reading this post. At the end, I offer a free checklist for polishing manuscripts and doing critiques and edits.

IMPROVE YOUR MANUSCRIPTS AND YOUR ABILITY TO ENGAGE READERSReFoReMo 2016

This month, I had the honor of being a faculty member on the ReFoReMo (Read for Research Month) team. In my guest post, CLOSING THE GAP BETWEEN READING AND WRITING, I encourage readers to look deeper than the surface when analyzing mentor texts or your own work. In considering ways to engage readers, I offer four questions to ponder while analyzing your stories or mentor texts.

DEEPEN YOUR UNDERSTANDING OF PICTURE BOOK WRITING

My picture book writing course ART OF ARC: How to Analyze Your Picture Book Manuscript continues to deepen writers understanding of picture books while helping them refine their work. Following are some of the latest comments from students who have completed the course.

I wish The Art of the Arc course existed a year ago. It would have saved me a lot of time. It gathers a lot of information that new picture book writers need all in one place. Alayne provides so many examples and even includes a few that don’t follow the classic arc. I found the reminders about what the reader should be experiencing at different points in the story especially helpful.

I appreciated how the worksheets made me take apart my own manuscripts so I have a better understanding of why some aspect isn’t working. I’m going to continue using the worksheets to guide my revisions. The Facebook group doing a monthly study of a picture book should help solidify what I’ve learned. Thank you, Alayne! – Mary Worley – Children’s Writer and Former Librarian

Alayne’s Art of Arc self-paced course not only teaches a writer about story structure but explains the specific parts of a story, in depth, and the importance of why each must be related, relevant, and remain connected. What I learned through her examples and exercises are the specific ways to break down a story using task analysis. This process helps me determine if the reader is “imagining and feeling” the story I want to tell reflected through my writing. As a writer who starts as a pantser, Alayne provided the organization I needed to analyze my own writing. – Keila V. Dawson, Author, THE KING CAKE BABY, Pelican Publishing Co., January 31, 2015

Alayne distills and clarifies picture book wisdom in a conversational tone. Her writing has earned a place on my reference shelf. Mike Karg – Children’s Book Writer

Art of the Arc teaches you to methodically analyze your manuscript or mentor text, and in doing so, pulls you back as the author to see your story through more objective eyes, able to evaluate it piece by piece. The course is well organized and contains a virtual plethora of resources. – Beth Anderson – Freelance Writer

This course was so helpful in showing me the areas where my manuscripts were not moving and how to fix that. Studying picture books suggested in the course focused this for me. The great thing is now I’ll be able to use this as I’m writing and, I hope, cut down on revision time. I highly recommend this comprehensive course. – Carol Crane – Children’s Writer

When asked, “How does this course compare to other courses you have taken?” One Art of Arc graduate said, “I haven’t taken other courses. The best comparison is Ann Whitford Paul’s WRITING PICTURE BOOKS. I love the depth and specificity of both. As with her book, your materials are worthy of re-reads.”

The following are not testimonials, but a few wonderful comments from the ART OF ARC Facebook group.

I just want to thank you, Alayne Kay Christian for putting together such a comprehensive course. I am only on lesson two, but I have already learned so much. The cost of this course is some of the best money I ever spent on learning the picture book craft. My mind is racing with all the possibilities for improving my manuscripts and writing new and better ones. I am truly blown away with how much work you put into this and how generous you are to share it with the world. Thank you!

I agree! And the ability to be in this group, ask questions and give answers is invaluable, too! Thanks, Alayne Kay Christian!

Click here to learn more about ART OF ARC and to read many more testimonials.

art of arc extra

 

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