*Unless otherwise stated, all content is written and copyrighted by Lisa Wheeler.
FYI-- A short comment on Abspeak
A STREET NAMED DESIRE--A light essay on 'scope for the imagination'.
A CRITICAL SITUATION--An article on the art of critiquing
THE 'W' DILEMMA--A short poem about alphabetical dis-order
MAYBE IT'S NOT WRITER'S BLOCK--A light look at a common dread.
INSPIRATION: DO'S AND DON'TS--A short tongue-in-cheek bit of advice
THE EASY PART--A lighthearted poem for writer-moms
A-MUSING SITUATION--An essay about an impish muse
STATE OF CONFUSION--A poem about a literal young writer
LARRY, MOE, CURLY, AND ME--Another goofy essay about writing
CHICKEN POX THEORIES--A short essay on the writing life
MY THESAURUS REX--A fun poem for children's writers
BE IMMATURE: Five Tips to Help You Relate to Your Young Audience
A few years back, the blockbuster movie Independence Day adopted the moniker ID4 to sell merchandise. Last year, entertainer Jennifer Lopez began going by the name J-Lo. Recently, I’ve heard friends refer to Ann Arbor as A2, and find myself doing the same.
I began to wonder, are we Americans too busy to use whole words…or are acronyms and abbreviations just too much fun to resist?
It’s easy to assume this is a backlash of the computer generation with their PC’s and CD Roms. They enter chat rooms where they LOL and <G> instead of saying, “That was funny.” They listen to MP3’s, watch DVD’s, and ride around in SUV’s. (Except in communities where 4WD’s are unPC.)
But can this abbreviated language be so easily blamed on the Gen X’ers?
I think not.
Each generation of Americans has its own acronyms. Just ask anyone who ever ate at Mickey D’s, used TP, or watched TV.
Ever own a VW Bug? Ride a BMX? Eat a BLT?
Did you vote for FDR? JFK? LBJ?
Do you have a ZIP code?
Aha! I thought so.
And in our small world of children’s writing, we pull out our acronyms faster than our SCBWI membership cards. We’ve all received SASE’s from S&S months after the stated turnaround time in the CWIM. We hope our PB WIPs become F&Gs and that we get our acceptances ASAP.
Whether you were a GI in WWII in the 40’s, were a Yuppie in the 80’s, or graduated from MSU the year of the OJ trial, you entered Y2K with your abbreviations in tow.
Don’t be afraid of Ab-Speak—embrace it!
Remember: An acronym a day keeps the MD away. (And that’s important since your HMO isn’t accepted at the ER!)
Lisa Wheeler (aka LAW) uses her PC to write PB’s, EZ’s and MG’s in S.E. MI
I have to move.
Am I being evicted? Uprooted? Transferred?
Nope. Nada. Nix.
I have to move because of my address.
It's boring. Or as L. M. Montgomery's heroine, Anne Shirley might say, 'It has no scope for the imagination'.
As a children's writer, I need all the 'scope' I can get. (Insert mouthwash joke here.) But how is one to feel the least bit inspired on a street with the unimaginative name of Joyce?
Oh sure, Joyce is a good name for females. Like Jane, Joan, and Jean, it is sensible, strong, and denotes an all-around likable gal.
But as an address, I'm afraid it fizzles.
I recently found out that the gentleman who is going to illustrate one of my books lives at 'Cherry Tree Cottage'. What a wonderful address! An address fit for a children's illustrator! Lots of 'scope' there. If one cannot feel inspired at Cherry Tree Cottage they must truly be a tortured soul.
Or how about Klickitat Street? That's where Beverly Cleary's Ramona character lived. But it is really, truly a street in Oregon. A street that inspired fun and play and the little girl who captured America's heart.
I have never had the opportunity to live on a street with a fanciful name. I grew up on Center, moved to Triangle, then to Sheek. (Which could've been inspirational if someone had been inventive enough to spell it Chic.) But alas, they didn't.
Am I destined to spend my days in a residence on a street with a name duller than chalk?
Heaven forbid!
I just have to move. And when I do move, it will be to an address that rings with inspiration. In my own little corner of the world, I have found two possibilities--Chipmunk Trail and Tulipwood Lane. I would write wonderful stories on Chipmunk Trail! (Who wouldn't?) A few towns over I found Yellow Brick. ( Can you imagine how creative a person would feel living on Yellow Brick Road!?) Or, I may just have to move south, near my father who lives on Hamster Way which is very near to Caribou Court and Wallaby Lane. Or maybe I'll go west, near my friend who has the good fortune to live on Shady Meadow Drive. (She is always inspired and writes absolutely wonderful stories!) Or how about north, near my in-laws in Newberry, which is just next to Paradise. (Which every children's author knows is absolutely true--even if the town got the spelling wrong.) There's a street called Shady Lane nearby, which is almost as good as Cherry Tree Cottage.
In any event, I must move. I am sure all kindred spirits will understand. As for the rest of you--Can I interest you in a house for sale on Joyce Road?
(Addendum--I wrote this essay several years ago and have just now put my house up for sale. I am finally moving! Where, you ask? Well, you can bet the house on Rosewood will provide plenty of scope for my imagination.)
"I read my story to my grandchildren and they loved it."
OUCH! You've heard that one before. Then it gets worse.
"Will you critique it for me?"
Now, you're between a rock and hard place. Do you give this person an honest critique, offer your opinion, crush their fragile ego into a pile of rubble? Or do you smile, say, "Your story is wonderful," and crawl back into your hole? The answer is YES...
...and NO.
First, consider...
THE DEFINITION OF CRITIQUE?
Webster's Collegiate Dictionary defines critique as : a critical estimate or discussion.
Critical meaning: a careful judicious evaluation.
When you offer to critique, you are entering into a contract of sorts. You are agreeing to read the work with a critical eye, a helpful mind, and a heart toward serving your fellow writer.
One way to define what a good critique is, is to define what a good critique is not.
WHAT A CRITIQUE IS NOT:
1.A PADDLE. No spanking allowed! No matter how awful you feel the writing is, you must consider the person behind the work. Be a gentle taskmaster and never undermine or belittle. Remember 'the golden rule'. Someday, you may be on the receiving end.
2. A FAN CLUB. If you honestly feel the work is wonderful, please let the writer know why. A gushy 'I loved it' does nothing for the author. Tell her why you loved it. What worked for you. What you felt were the strong points of the work.
3. A SOAP BOX. The writing is good, but you do not agree with the opinions expressed by the author. Too bad, baby! A critique is not the place for your personal views on politics, religion, or child rearing. You are to critique the writing, the presentation of the subject, only the things which pertain to the writing process. If you feel that your bias will not allow you to be fair minded, decline from critiquing the piece.
4. A STAGE. You may be a ham -- but this is not Hamlet! No showing off. Even if your writing skills are far more advanced than the writer you are critiquing, DO NOT rewrite the piece. Offer suggestions that lead the author onto the path of stronger writing. After all, a critique should help a fellow writer learn and grow. Give him the opportunity to edit and rewrite his own work.
In the end, helping a fellow writer to make her piece the best it can be will have its rewards for both of you. You can learn a lot from critiquing another's work. As you sharpen your critiquing skills, your writing skills become stronger.
Next time someone says, "I read this story to my grandchildren and they loved it!" tell them that is a great first step. Then dig in together on a thoughtful, inspiring critique. Maybe next time you see this author she'll have even better news....
..."An editor read my story and she loved it!"
My last name starts with 'W'.
It stands for 'Woe is me'.
'Cause bookstores sort
by author's name,
...alphabetically
While 'A' names get top billing
and middle 'M's are fine,
I'm always on the bottom
getting shoe marks
on my spine.
Wedged down here,
between the best,
I'm in good company.
'Cause when folks stoop
for E.B. White,
they just might notice me.
It could be...
Writer's Stump--When your ideas won't grow and seem to get cut off at the base.
Writer's Rut-- When you get stuck. The wheels are turning but produce no noticeable results.
Writer's Sieve--When the brain won't hold a thought. All ideas just run through it.
Writer's Wall--When you run into ideas that are flat.
Writer's Drip--When ideas come s-l-o-w-l-y. One... thought...at...a...time.
Writer's Drought--When ideas start out dry and never come to fruition.
Writer's Mirage--When ideas seem plentiful, but it's just an illusion.
I am frequently asked how I get my story ideas. The truth is, I don’t get them—they get me. So if you want some ideas to come your way, here are a few foolproof methods.
Do place yourself in a position where you will have absolutely no access to writing tools. (Perched on top of a ladder with a paintbrush in hand is perfect.) A great idea will be sure to find you as long as you aren’t carrying a notepad.
Don’t, under any circumstances, sit in front of your blank computer screen. Ideas hate white space. This is also true for clean sheets of paper. Run from them!
Do keep busy with non-writing related activities. Story ideas like to sneak up on people. Pretend you’re not looking.
Don’t set aside uninterrupted hours to write. This will only send great ideas packing. If someone has offered to take the kids for the weekend, you have set yourself up for a double whammy. You might as well head to the movies, phone a friend, or re-grout the bathtub. No idea is gonna come knockin’ until you start on that grout.
Do plan lots of chaotic activities. Ideas are drawn to chaos: organizing a family reunion for 200 relatives, planning your daughter’s wedding, or hosting the Boy Scout sleepover. If you’re busy, they will come.
Don’t stress about ideas. Stress about life! A wise bumper sticker once said, Life is what happens while you are making other plans. I say, Ideas are what happen when you are living a life.
So, get a life!
And maybe a few good ideas will follow.
DIFFICULT
is keeping your
mouth shut when your
adolescent daughter
experiments with
lipstick so RED
you scold her
for drinking cherry
Kool-Aid so soon after breakfast.
DIFFICULT
is getting hairs out of
upholstery after a trip
to the vet
with a
cowardly beagle
who lost half her
FUR in the car
and the other half on the
steel table where she also pee'd.
DIFFICULT
is grounding your children
for fighting
on the car trip to Grandma's
and now having to
stick with that
PUNISHMENT
even though they are
driving you
completely out of your mind.
DIFFICULT
is parallel parking
DIFFICULT
is waiting in lines
DIFFICULT
is exact change at toll booths
LIFE IS DIFFICULT
The easy part
is writing
about
IT.
I've heard tell that we writers have muses. Greek Goddesses of myth that offer inspiration and ideas to poets, writers, and artists. I am not of Greek origin, and though I've eaten my share of baklava over the years, I don't believe I've found favor on Mt. Olympus.
If I truly had a muse, I am sure she would take pity on me, and only give me bursts of inspiration when pencil and paper are readily available.
Would a muse keep me awake until four in the morning? Would she make me drive through stops signs and head down one way streets? No. A muse would never do that.
What I have is an imp!
My personal imp delights in making me look like an empty headed boob. He taunts me with ideas when I'm in the middle of important adult discussions. He dangles words in front of my face as I drive and has, on more than one occasion, caused me to burn a meal. My imp relishes days when my schedule is full. It is then that he tempts me constantly with well turned phrases. He's a naughty fellow who scoffs at invitations, dropping in when least expected.
Although he's a fiendish little urchin, I've grown accustomed-- actually enjoy -- having him around. He makes life more interesting. He helps me explain laundry in the freezer, oranges in the oven, and brushing my teeth with Ben-gay.
When he's not around I miss him, and take up reading to fill the time. Before long that bugger shows up, always when I'm in the middle of an irresistible chapter. Tapping at my forehead and whispering in my ear like a rambunctious toddler awakened from a nap. Play with me!
I am not immune to his charms and, being my personal imp, he knows how to work me. Before long, the book is set aside and I'm bursting with words -- glorious words!
Funny -- my imp always knows when there is going to be a knock on the door.
I grew up in Pencil-vania
The name seemed strange to me
A state named for a tube of lead?!
(I took things literally)
My 1st grade teacher told me
It was named for William Penn
Imagine the confusion
In my tiny mind back then
Who would name our proud state
After simple writing tools?
Perhaps it was the same guy
Who sold No. 2's to schools
Good thing they can't change the name
In this day of Compu-Mania
I wouldn't want to claim a state
Called Macintosh-L-Vania!
Today, I had a Three Stooges moment. I walked into our dark garage without removing my sunglasses. BOING!
I had stepped on the prongs of the garden rake, causing the handle to swing straight up into my face--a direct smack to the nose. After checking for blood, (there was none) I instinctively looked around. No one saw my moment of humility.
Darn! A perfect unplanned klutz event and no one around to appreciate it. What a waste of good slapstick.
Ever feel that way about your writing? You know, when you write the perfect line. Or when your character takes off and seems to write themselves. Or when you finally find the rhyming word that has eluded you for weeks? Ever wish someone was there to share that moment? Applaud maybe? Somehow validate that experience for you?
I do.
I've had writing victory moments where I wished a whole stadium would applaud. Heck, I'd even let them do 'the wave' if they were so inclined.
But unlike Hollywood, Broadway, or even Wrigley Field, our performance goes unseen, unsung, and unheralded.
No one flicks their lighter for an encore, after a clever turn of phrase. No one gives a standing ovation when you finally finish that difficult chapter. No one blares out appreciative whistles when you type out that soul stirring description of an apricot.
Nope.
The writing life is a lonely one. How many times can we ask our spouse or children to "Listen to this paragraph," or "Just read this one line", before they join Write-Anon (a self-help group for lit-enablers). I've seen that desperate look on my children's faces when I approach with papers in hand, begging, "One page. Just read one page. Do it for Mommy."
Wouldn't it be great if, like the Three Stooges, each performance was followed by a round of applause or (when appropriate) laughter? Wouldn't it be wonderful to announce, "My meter is finally perfect!" and have the whole family stand up and cheer? Would it be too much to ask to get a Star on my office door?...Well, okay, maybe that is carrying things a bit too far.
But like my perfect slapstick moment, our 'performances' go unheralded. Oh sure, if we're lucky enough to have the work accepted, it will eventually get read. But will anyone stand up and applaud the fourth Stooge?
I think not.
My friend and I had an amazing thing happen. Both of our picture book manuscripts sat side by side on the same editor's desk. They were both up for editorial review at the same house, on the same day. What are the chances of that happening twice? We were so excited!
Since we both had received e-mails from the senior editor saying how much she loved our books, we figured it was 'in the bag'. We even went so far as to write up a joint announcement for our writer's list-serve. When the BIG acceptance came, we would be ready.
The night before the review board, my friend had a dream. In her dream, the editor got the chicken pox and couldn't present our books. We had a good laugh over that one. Especially when my friend said, "We shouldn't count our chicken pox before they hatch."
She didn't realize how right she was.
The editor didn't get chicken pox. She did present our books that day. But the review board only accepted one of the books -- not mine.
Was I disappointed? Yes. Was I happy for my friend? Also, yes. Is it that possible? Of course!
If that editorial board had accepted both stories, I would have been doubly happy. But if both of us had been rejected, there would be no reason to rejoice. No reason to kick up our heels. I went to bed happy in the knowledge that at least one of us had an acceptance. One of us beat the odds! In this iffy business, that's a good thing.
Besides, I learned a very valuable lesson. Never, ever count your chicken pox before they hatch!
A dinosaur that's not extinct
sits atop my writing desk.
This wordy fellow makes me think.
I use the terms that he suggests.
He is my buddy, pal, my friend,
my pardner, sidekick, confidant.
From Once upon...until The End
he's fearless, stalwart, brave, gallant.
When my mind's confused, unclear,
a bungled, flustered, jumbled mess,
he helps me choose a word that's clear,
distinct, lucid, manifest.
He feeds me good alternatives,
choices, options, substitutes.
A banquet for the perceptive,
clever, cunning, keen, astute.
If we should ever have to part,
take leave, split up, or separate,
my poems would have a broken heart,
dejected, crushed, and desolate.
Though his pages are quite worn,
damaged, tattered, shabby, frayed,
I wouldn't trade my dinosaur,
thesaurus, helper, partner, aide.
Five Tips to Help You Relate to Your Young Audience
"But how do you know that you can write for children?" she asked.
"I'm immature and have a limited vocabulary," I said.
That answer, given to a woman in my writer's group, was meant as a joke. Later, as I pondered her question, I realized that it was true. I had listed two of five basics for a children's fiction writer.
Am I suggesting that those of us who write for children are less professional, less intelligent, than other writers? No way Jose! We just need to be more in tune with a child's world.
1. BE IMMATURE
"If I read that I need to get in touch with my inner-child one more time, I'm gonna barf. Uh, oh! Here it comes...raaalllfff!"
Sound immature? Good. Now I'm thinking like a kid.
How does a writer, especially one many years beyond high school, learn to think like a child? By getting in touch with an outer child.
I watch cartoons everyday. Not just because I enjoy them -- which I do -- but because they provide valuable research. I'm seeing what kids see, enjoying what they enjoy. Try it. You'll begin to remember the shows that once amused you. Why did you like them? What made you laugh? What did you find interesting at age seven, ten, fourteen?
Also, during cartoon time, you will be bombarded with commercials geared to children. Use these. You will find out what's hot, what's new, the latest styles, and the newest releases in kid flicks. If animation doesn't move you, there are plenty of other children's programs that will. Try watching with a group of kids. Their comments can be jotted down on a note pad to be used at a later date for dialogue examples.
Speaking of dialogue...
2. TALK TOO MUCH
I can remember relatives asking my mother, "Is that child ever quiet?"
That child was me and the answer was 'no' then, and it's 'no' now--at least in my
writing.
Spend an afternoon with a chatty three year old. You will be convinced: children love dialogue. A good conversation brings your subjects to life. Most important, dialogue breaks up the words on the page, making them less ominous for young readers. After all, what is the good of writing for kids if we can't get them reading.
Never use dialogue just for dialogue sake. Make sure your conversations serve a purpose.
Consider how this scene from Marvin Redpost: Why Pick on Me? by Louis Sachar, uses mostly dialogue to create tension, and set up the plot of the story.
"I won!" Clarence declared.
"You did not," said Marvin. "The ball was over the line."
"You're crazy," said Clarence.
"I saw it," said Marvin.
"You did not," said Clarence. "You weren't even watching.
You were picking your nose!"
Several of the kids on the line laughed.
"It was over the line," said Marvin.
"Go pick your nose," said Clarence.
The kids on the line laughed again, even Nick.
Notice also, how Mr. Sachar didn't justify each comment with an adverb. He used the word said. Not, 'said angrily', 'said adamantly', or 'said impatiently. Yet reading this scene, a reader will feel all of these contained in the dialogue itself.
Now that I've got you talking...
3. HAVE A LIMITED VOCABULARY
"Don't we want children to expand their vocabulary?"
Of course! But if a kid has to pull out the dictionary on every other page, you will lose him.
One way to keep your vocabulary in check, without getting bogged down in repetition, is to purchase a child's thesaurus. That is: a thesaurus written for elementary aged children. That way, you will be sure that your substitutions are appropriate.
This does not mean that a writer should limit himself to three and four letter words. (Unless your targeting the very easy reader market.) In her picture book, A Porcupine Named Fluffy, Helen Lester used the word exhausted, to describe her two animal characters. She could have used a more familiar word like tired or sleepy, but they would not have been as effective a description. Go with your instinct -- just don't go to far.
That's all I have to say about that. On to my next topic.
4. HAVE A SHORT ATTENTION SPAN
You've read five pages of a novel and the author is still describing the character's house, car, toenails, etc. What do you do? You put down the book.
The first page, the first few sentences, should grab the attention of your young audience. For example:
"Not every thirteen-year-old girl is accused of murder, brought to trial, and found guilty. But I was just such a girl, and my story is worth relating..."
These are the first two sentences of the book, The True Confessions of Charlotte Doyle, by Avi. Are you curious to find out what happens next? So was I, and so was the author's targeted audience. This book won a Newbery Honor Award.
Now that you have their attention, you will have to keep it. How many long flowery passages do you have in your story? Are they important to the overall plot? How many descriptions of secondary characters can be shortened? It's okay to say that Chucky has blond hair and freckles, but do we need to know what his parents look like, where his mother works, all the favorite foods of his six friends? I think you are getting the picture. Just remember, when writing for kids, the story must keep moving.
Uh, I forgot what I was going to say next. I must have been...
5. DAYDREAMING
This is the most important part of writing for children. Forget what your teachers said. Go ahead, gaze out that window. Examine each blade of grass. Let your mind wander, and wonder. Lose yourself in cotton ball clouds and always give yourself permission, even if only for a few hours, to be immature.
MORE WAYS TO BE IMMATURE
1. Rent children's video's, even if you don't have kids.
2. Visit a toy store and check out all the hot new items. Many toy companies have interactive displays set up. Give them a try!
3. Eat lunch at a fast food restaurant that's located near a high school. You'll get great dialogue. The teens have so much energy you're sure to be inspired.
4. Go through the drive-thru and order a kids meal at your favorite fast food joint. Eat the burger slowly, taking child-sized bites. Play with the toy! These small joys can mean big rewards in your writing
5. Read children's books. Everything from picture books to young adult novels can spark your creativity. Go to the library. Ask the librarian what the kids are asking for. What are the latest Newbery, Caldecott, Zolotow, and Parent's Choice Award winners? Check them out.
6. Try a new sport or hobby. In-line skating, volleyball, canoeing: whatever floats your boat. It's scary and exciting to try something new, but kids do it every day. My first experience on a jet-ski made me feel like a six year old on the first day of school; terrified.
7. Learn the lyrics to a few children's songs. Whenever I'm feeling too grown-up to write, I belt out a couple verses of Your Mama Don't Wear No Socks, and I'm cured!
LisaWheelerBooks.com
Copyright © 2001 by Lisa Wheeler. All rights reserved.
Revised:
02/21/06 07:10:54 -0600.