An Interview with Laura McGee Kvasnosky

Our guest today is Laura McGee Kvasnosky, author of the popular series, Zelda and Ivy. Laura is both writer and illustrator, and she teaches at Vermont College’s MFA in Writing for Children and Young Adults program.

1. Before your Zelda and Ivy series, you wrote two board books, One, Two, Three, Play with Me, and Pink, Red, Blue, What Are You?. What made you shift into the early chapter books?

I am not wedded to any particular type of picture book. My approach is to explore whatever ideas I have and as the project develops, I recognize what age group it best fits and nudge it that direction. The first book I sold was What Shall I Dream?, a picture book illustrated by Judith Schachner and published by Dutton. It came out after I had published board books and toddler books because of the time it took to illustrate. I am the illustrator of all of the rest of the picture books I have written.

2. In your opinion, which is easier to write and illustrate, a board book or an early reader?

I can’t really compare. A board book is like a beautiful pot of flowers; an early or beginning reader is like a garden bed. Both are equally satisfying when you get them planted right. As you might expect, a board book with its short text usually takes a lot less time.

3. Your novel, One Lucky Summer, was a 2002 Junior Library Guild Selection. Do you think you will write more books for the 8-to-12 year old audience?

I hope so. I have been working on another middle grade novel off and on for many years.

4. Do you have other series in mind besides Zelda and Ivy?

I have no other series in mind.

Zelda and Ivy began life as a picture book with three little chapters. Initially it was not intended as a series. But never say never. It wasn’t until the fourth book of the series, Zelda and Ivy: The Runaways, that the books were downsized to the standard 6 x 9-inch beginning reader format, which seems to be a good fit for them.

5. You have had great success in both writing and illustrating many of your books. With that in mind, what makes you decide to illustrate a book you haven’t written? And what makes you decide to have someone else illustrate one of your books?

This is easy to answer. If I wish I had written a book, then I am glad to try my hand at illustrating it. Of books I have written, only What Shall I Dream? was illustrated by another illustrator and that was the choice of the editor at Dutton who believed that since I was a new author my work might have a better chance with an established illustrator.

6. In 2007, your book, Zelda and Ivy: The Runaways, won the 2007 Theodor Seuss Geisel Beginning Reader Award. Can you tell us a little more about the award and how it felt to receive it? Did you know your book was nominated?

Of course this was very exciting. The ALA was meeting in Seattle (where we live) that year, so I was notified the night before and was sitting in the big ballroom of the convention center with a bunch of my friends when the award was announced. Very exciting. The following July we went to ALA in Washington DC to receive the award and were wined and dined by the publisher, Candlewick Press. Also lots of fun. The award is a nice affirmation of my work and also I think it has drawn more publishers to bring out beginning readers.

7. Your first book in the series, Zelda and Ivy, won the SCBWI Golden Kite Honors for both picture book illustration and text, as well as the Oppenheim Best Book Gold Award, and it was chosen as the American Library Association Notable Children's Book, in addition to other honors. Zelda and Ivy: Keeping Secrets is on the Bank Street Best Books of 2010 list. Does such prestigious recognition put any pressure on you when you write new books?

When I am creating a book, all the rest of the world goes away. I enter the world I am creating. That’s the seductive and wonderful part I love about writing and illustrating a book. The only part of the publishing equation that I have control over is to put in the time, to keep working at it. Once I send a book out into the world, it begins a life of its own. It is always gratifying when a book does well, but I put just as much passion and care into all of them.

8. You write, illustrate, teach, speak at conferences and offer workshops at schools. Which do you find the most challenging? (I’m assuming you find them all rewarding in different ways.)

I teach at Vermont College’s MFA in Writing for Children and Young Adults program. These are my peeps. A wonderful community of faculty and students. I learn so much through teaching that feeds my own work. The processes of talking about making books and making books feed each other. Because I secretly want to be a professional ukulele player and singer, I really do enjoy making presentations.

9. Can you talk a little about “The Inside Story”, a twice-yearly event started by you and author George Shannon ten years ago and now hosted by SCBWI?

George and I invented THE INSIDE STORY as a salon where children’s book authors and illustrators in the Seattle area could meet twice yearly to introduce their new books. After the first several years, our Seattle chapter of the SCBWI kindly took it over and it’s been rolling ever since – maybe 11 years? We rotate the venue through independent bookstores in Seattle and each presenter has three minutes to tell the story behind the story of his new book. Librarians, teachers, and booklovers provide the audience.

10. What advice do you have for children’s writers who want to write for very young children?

Mostly, I don’t think writing for the very young is different than writing for any audience. It helps to write every day, to foster the habit of combing through life for stuff that belongs in a story. I don’t really set out to write for a certain age of audience. Instead, I tell the best story I can and then figure what the audience is.

I am a big believer in READING as a way to steep yourself in any particular genre of picture books. If you aim to write for the very young, find ten books that are the kind of book you want to make and deconstruct them. What makes the best ones so good? Notice how the story starts, the voice, the characterization, the language, design, pacing, page turns etc etc -- all the myriad elements that make the best ones best. There’s a whole university waiting for you between the covers of a well-done picture book.

A little developmental research can help, too. If your intention is to write for the very young, spend some time with little kids. Get down on their level and look at the world. Notice what draws their attention. Read magazines for parents of little kids. What are the issues and concerns? Then reach down in yourself and connect something from that research to something from your own experience to find the story that is yours to tell.

Visit Laura’s website at: http://www.lmkbooks.com/bio/index.php .
In addition to a list of all her books, there are fun activities for children, as well as information about programs and workshops for schools and conference presentations.

As for where to buy her books, Laura says:

I think it's great if people buy books from their local independent booksellers so that we will continue to have local independent booksellers -- but amazon.com has them all, too, plus resellers who stock the out-of- print titles through the amazon site.

An Interview With Linda Joy Singleton

Linda Joy Singleton is the author of several popular YA and MG series, among them, Strange Encounters, The Seer, Dead Girl Walking, and Regeneration. Regeneration was a Young Adult Library Association Quick-Pick Choice in 2001. Twin Again won an Eppie Award for best children’s book in 2003. Here’s Linda to talk about her books and her writing process.

1. You have had several series published and have developed a loyal fan base. I’ve read several reviews, and regularly your fans clamor for the next book. Do they affect your choice of the next adventure?

Yes. I definitely listen to my fans. When THE SEER was just starting, fans kept telling me they wanted Sabine to find romance with Dominic. So I gradually added more in each book. A lot of my decisions for a new book are editorially driven. For instance, I’ve written one book about Thorn and think I have a good chance of being offered a contract for one more, so I recently pitched another Thorn book to my editor. Fingers crossed good news comes soon.

2. Your series usually deal with magic creatures, ghosts, extrasensory perception, or extraterrestrials. Have you always been interested in the paranormal? What inspired your interest?

I’ve always been interested in paranormal topics. Psychics especially intrigued me even when I was young because they seemed to offer evidence of contact with the Other Side. While I have never seen a ghost or had any woo-woo experience, I get strong intuitive feelings that I’ve learned to listen to. One of the first authors to inspire my interest in the supernatural was Lois Duncan; her YA mysteries plus a crime chiller called WHO KILLED MY DAUGHTER, based on a personal tragedy. I’ve been to psychics a lot; in fact, I plan to go to one next month. The last time I went to a psychic he predicted a TV sale and my series on a bestseller list. I’m hoping!

3. Each of your series has a different kind of protagonist. How do you know when it’s time to end one series and begin another?

With most of my series, I wanted to keep writing more books but the publisher made the decision to end the series. When REGENERATION ended at 5 books, I was so disappointed that I wrote one more book just for fans which is still available for free on www.ljsingleton.com . I never wanted THE SEER series to end. Until 1 ½ ago THE SEER was going to end with 5 books. I was thrilled when I was asked to write one more. My publisher felt a spin-off with Thorn would be a better choice since it will be a new character and situation. That book (tentative title GRAVE SECRETS) comes out in 2011.

4. Your books are mainly for teens or tweens. Have you ever thought of writing picture books or books for early readers?

I have a picture book about dogs that my agent is submitting. I am totally in love with this picture book and want it to sell very, very, very much! I’ve tried writing early readers but didn’t have the voice for it. I seem to have the most success with YA series and I’m happy to keep writing them.

5. Writers are often advised to carry a notebook with them at all times to “catch ideas”. Do you do that?

I usually have some paper in my purse, but I’ve written notes on napkins and the back of any papers I can find. I’ve even scribbled notes on my hands. I recently got an I-Phone with a notebook app that I love.

6. How do your series ideas come to you? A phrase? A problem? A new character?

Mostly I think of a set-up that intrigues me. I like situations where someone’s life takes a new twist, usually with paranormal elements. I’ve written quite a few books that didn’t sell and several of them don’t have paranormal. The idea for SEER and DEAD GIRL started in manuscripts earlier in my career that I’d submit then set aside then rework and submit again. The first character of THE SEER was a completely different girl than Sabine, and I called the series PSYCHIC SLEUTH. DEAD GIRL was originally a single-title book with a different ending titled TURN LEFT AT THE MILKY WAY. But when I switched the title to DEAD GIRL WALKING, my editor showed interest and suggested turning it into a series. I loved the idea and had a great time writing those books.

7. Do you do a first draft in longhand or on the computer, and why? If the former, when do you switch to the computer?

I write on the computer. I taught myself to type when I was 11 and have always loved the speed and rhythm of a keyboard; my form of musical instrument. I usually take notes in long-hand to get started but then I jump into the book on the computer. I edit as I go along so don’t really have a first draft but more of an evolved draft.

8. Who reads your manuscripts first? Your husband? A writing friend? Your agent or editor?

Definitely NOT my husband since he’s not a reader but he’s really smart and if I need some feedback, he’ll give me advice. I’m in a critique group that meets twice a month and they hear my work first. When I finish the book, then it goes to my agent who will forward it to my editor. Sometimes I send a new book to a friend online, like I recently did with SEER #6 to a librarian friend.

9. What is the best advice you have ever gotten from an agent? An editor? Another writer?

I’ve heard all flavors of advice and mostly it comes down to listening to my own gut feelings. Usually I’m telling myself to keep writing even though my book feels like garbage. I’ve learned that I can finish a book and I’ve learned how to deal with disappointments and success. Mostly the advice I give myself is to just keep growing as a writer and working hard. Never to give up.

10. Do you have a new series on the back burner?

There’s a science fiction YA that my agent has shopped around but it hasn’t sold. I’m planning another Thorn book if my editor wants one. I’m not really sure what’s next. I can’t wait to find out.

Thanks, Linda for sharing your thoughts with us.

For more information, visit Linda's website at http://www.lindajoysingleton.com/ and http://www.myspace.com/lindajoysingleton . New books coming out: THE SEER #6 MAGICIAN'S MUSE Fall 2010, and GRAVE SECRETS - A Thorn Goth Girl Mystery, 2011 (Flux/Llewellyn Publishing )

Some Thoughts About Writing and Gardening

I've been away from my post this week, doing what writers are supposed to be doing -- writing. Well, and doing research, too, for coming interviews. But, research done, I got back to revising and editing, querying, writing the ever-ominous (to me) synopses, and submitting manuscripts (three). With all of that done, I wandered out to the back yard to do some work on my raggedy flower garden.

While I was gardening, I couldn't help drawing parallels: How is gardening like writing a novel? Let me count the ways:

To begin with, you start out with an idea. An appealing idea. The overall plot. (Forgive the pun.) In the heat of your enthusiasm you plant your plants and stand back to look at the result. "Not bad. Pretty good, really! Although...." Now the real work begins. What exactly did you have in mind? Did you mean for such a bushy plant to go in that spot? And mixed light--does that plant really need more sunlight or more shade? And, oh dear. Western sun in Sacramento seems to be a little hotter than "full sun."

So, revision. You start shifting the plants around. I think of plants as characters. You know how some characters start hogging the limelight, pushing the other characters into the background, but the story originally wasn't about them? Well, some plants do that, too. And then you have to decide. Is this the main plant (character) after all? Or do you need to put it in another section (maybe another book?)

After revising and replanting, results start looking better. The novel shapes up, the characters are in their places; the garden has shape and color. Flowers are blooming where they should; this plant's leaves aren't shriveling from too much sun; that plant isn't pining for more sun.

There's still more work to be done: editing. Pesky adverbs and adjectives, and all those cluttery words, like just, even, really, very, but, and, then.... (Who knew you had such a "then" habit?) This is like the weeds in your garden. They have that way of cropping up everywhere. You have to dig them out. Sometimes more than once.

True, there is a point where parallels break down: For one thing, no one ever sends you a letter saying, "We regret that your garden doesn't meet our needs, and we wish you luck elsewhere."

On the other hand, the upside of a rejection letter is that it doesn't give you a sore back!

An Interview With T. A. Barron -- Part II

Today Barron (picture at left) discusses writing, young people and the Gloria Barron Prize for Young Heroes, inspired by his mother, Gloria Barron (picture at right.)

Q. Has your writing process changed in the course of writing such successful books? Do deadlines or expectations affect your work, or has your approach stayed much the same?

A. The writing process is still a mystery to me. All I know is that, to craft a story, I need three things: a character I care about; a wondrous, magical place; and a troubling question or idea. Without those three elements, I simply can’t muster the energy to spend a day writing or revising a page—let alone several years creating a trilogy. (The Great Tree of Avalon books have taken me five years to complete.)

I’ve also learned that writing requires both sides of the brain. The rational, organized side of our brain enables us to design believable characters with journeys that are logically consistent and emotionally rewarding. The dreaming, poetic side enables us to make metaphors—as well as characters who come alive and surprise us with their secrets. In all this, details are crucial. My job as a writer boils down to one goal: making characters and places and plots feel true.

Q. Who does the artwork for your maps?

A. A variety of artists have done the artwork for my maps – including myself. Ian Schoenherr did the artwork for The Lost Years of Merlin map, Anthony Venti for The Lost Crater (map from The Ancient One), and I did the artwork for The Great Tree of Avalon maps.

Q. Your love of nature permeates all your books. Did you always feel this bond with nature so deeply? Or did it develop out of writing your books?

A. I have always had an affinity for nature. For starters, I grew up in places where Nature was always nearby, so I could explore a creek, climb a tree, pick an apple, or just cover myself with mud. The nearness of Nature shaped me profoundly. Not just in the challenging, adventurous ways you might expect—in deeper, spiritual ways, as well.

For example, I remember a snowy day when I was very young. My mother dressed me in one of those big puffy snowsuits that made me look like a huge, waddling balloon, and took me outside. There was so much snow, the drifts were even taller than me. Then my mother patted the top of an enormous snowdrift, and said, “Guess what? Believe it or not, there are flowers under there. You won't see them until springtime, but it's true.” I was astounded. Amazed. Flowers? Under there? She was telling me about the patterns of the seasons, of course—but also about something more. Something like hope. Transformation. Renewal.

So why is wilderness important? Because unspoiled Nature is the last, best place on Earth for people to stand upright and tall, dwarfed by the sweep of the stars or the sweep of time, and yet still part of it all—connected to the changing seasons, the fox tracks, or the flight of geese. In Nature, we can feel both very small, and very large, at once—part of the universe, the pattern, the mystery.

And one more thing: In wilderness, we can still experience silence—a quality that's increasingly rare in this world. We can hear voices apart from our own, sounds not made by automobiles or chainsaws. We can even hear, sometimes, the whispers of creation—that remarkable process whose essence is life, and whose engine is silent.

Q. Have you ever returned to your first novel and considered revising it into a YA novel?

A. My editor has asked me to do that. Maybe someday I will. It has some strengths – mainly zany humor and imagination – but I can tell you it needs a lot of work!

Q. What do you think is the most productive steps a beginning writer can take to develop the craft? An MFA program? Workshops? Books on writing? Conferences?

A. I suggest three things: First, notice the world around you, with all your senses wide open. Second, remember that writing is a great way to explore the universe—not just in space and time, but also in the realm of ideas. Third, don't forget that writing is a craft, and the best way to improve is by practicing every chance you can.

And then a fourth: Don't take rejection letters to heart. Everyone gets them, even established writers. They hurt, but they are just part of life. If you have something to say, and refuse to give up, you will find a way to say it and share it with others.

Finally, in case it's helpful, please check out the page (For New Writers) on my website: http://www.tabarron.com/.

Q. Are there other writers in the family?

A. My children love to write. One of my favorite books ever is The Mysterious Arrowhead, written and illustrated by my 9-year-old daughter, Larkin, after a family rafting trip in Idaho.

Q. National Geographic Education Foundation and Girl Scouts of the USA, among other organizations, have partnered with you in providing the Gloria Barron Prize for Young Heroes. It has also been highly commended by Jane Goodall. Can you tell us a little about the prize? What sparked the idea?

A. The Gloria Barron Prize for Young Heroes honors outstanding young leaders who have made a significant positive difference to people and our planet. Their leadership and courage make them true heroes—and inspirations to us all. Each year, the Barron Prize honors twenty-five winners nationwide. Half of the winners have focused on helping their communities and fellow beings; half have focused on protecting the health and sustainability of the environment. The goal of the Barron Prize is to celebrate such heroic young people—and to inspire others to do their part. Like the woman for whom the prize was named—my mother, Gloria Barron—these young people demonstrate the power of one person to make a difference to the world.

Thank you for sharing such helpful suggestions for readers and budding writers. I look forward (as I'm sure readers do) to seeing the movie, The Lost Years of Merlin!

An Interview With T. A. Barron -- Part I

T. A. Barron is the author of the popular and five-book epic, The Lost Years of Merlin, which is soon to become a movie, based on the first book. His books have been translated into eight languages, and he is the recipient of the 2011 De Grummond USM Medallion for his lifelong contribution to the field of Children's and YA literature, as well as numerous other awards, including 2005 Nautilus Book Award-Grand Prize Winner, for The Great Tree of Avalon trilogy (another series that follows The Lost Years of Merlin and the Merlin’s Dragon trilogy). He lives in Colorado with his wife and children. In addition to his YA novels, Barron has written picture books and nonfiction. His titles can be viewed and purchased at: www.boulderbookstore.indiebound.com/localauthors/274317 .

Q. You have said that Merlin intrigued you because of a missing space in the legends about him. But there are missing spaces in stories of Arthur, Morgan La Fay, and Margawse, and the latter two also had magical powers. Why Merlin instead of one of the others?

A. Merlin is simply the most rich, amazing, wondrous character of all! He is, after all, the original wizard – the first mythic person who embodies the magic of nature. The more I have written
about him (now almost twenty years), the more compelling he becomes.

Here are the reasons why:

Let me start by saying that I've been fascinated with Merlin ever since my first year as a student at Oxford, when I sat in the shade of an ancient English oak tree and read T.H. White's Once and Future King. But even though I eventually named that oak “Merlin's Tree”, I had no idea that twenty years later I'd have the chance to weave another thread or two into the marvelous tapestry of myth about Merlin. Life is really more surprising than legend.

So why has Merlin persisted in our minds and hearts? Why have people been telling stories about him, adding to his legend, for over fifteen hundred years? Well, here's my theory. It's because Merlin stands for three basic ideals—ideals we need today, more than ever: universality, humility, and the sacredness of Nature.

First take universality. When you look at the original Celtic tales, Merlin's role was truly astounding. And unique. Despite all the chaos, warfare, plagues, and hardships of life in sixth century Britain, here came this wizard who actually succeeded in building bridges among people—Druids and Christians, nobles and peasants, archbishops and old gray wolves. And now, in our own time, when so many people are bent on tearing humanity apart, Merlin gives us
hope that we can still perhaps come together.

Then there is humility. There is always a tension in Merlin's legends between the light and dark sides in humanity. And in Merlin himself. That is why, in the Celtic tales, he was given a saintly mother and a demonic father. And that is why, in my own tales of Merlin, he often grapples with his own dark side, his own flaws. All this makes him a wiser, more compassionate person—and a truly remarkable mentor.

And finally—Merlin's wondrous connection with Nature. To him, the language of the river or the tree isn't so far from his own; the echoing call of a wolf is full of wisdom. Humanity has always yearned to connect with the cosmos, to belong to the universe as wholly as light belongs to the stars. Merlin reminds us of that yearning, and inspires us to explore it.

Much like Merlin, the mythic world of Avalon kindles some of our deepest longings. For it is a place that combines mortal and immortal, transitory and eternal. A place where all creatures, whether they walk or fly or swim or crawl, live together in harmony. And also, a place of hope amidst human suffering. The sort of place where Merlin himself might live—and where, through the magic of story, we all can live, for a time.

Q. Are you the screenwriter for the movie, The Lost Years of Merlin? If so, how does writing script appeal to you? If not, are you comfortable with how it is being handled?

A. Originally, my agent asked me if I wanted to write the script. I said no – because writing a script is quite different from writing a novel, and I want a movie script that is the absolute best. And that’s what we got from Simon Kinberg! He is a fabulous script writer and producer, whose recent credits include Sherlock Holmes, XMen 3, and Mr. and Mrs. Smith. In addition to being an accomplished script writer, Simon is as passionate about this project as I am – and equally respectful of Merlin. So I have had no difficulty at all in giving Simon the opportunity to bring this story to life on the big screen. It’s been a true delight to work together with him.

Q. Is there a projected date yet for the movie? In other words, is the screenplay finished and have the stars been picked?

A. No date yet. We are still in development, with a terrific script. Now we are going out to directors, an exciting stage. So we are making progress … but this is a bizarre process.

Q. You have spent nearly 20 years writing about Merlin and Merlin’s dragon, Basil. Do you think any future projects will captivate your imagination to the extent that Merlin did?

A. After finishing my trilogy, The Great Tree of Avalon, (which, I'm pleased to say, made the New York Times best seller lists), I began the final trilogy to complete my saga of Merlin and his worlds. The result is the new Merlin's Dragon trilogy, which reveals what really happened between the final scene of The Lost Years of Merlin saga and the opening of The Great Tree of
Avalon trilogy. Book I, titled Merlin's Dragon, follows the amazing adventures of a tiny little fellow named Basil... who has a future that is just as magical, heroic, and extraordinary as Merlin's. Though he has a very small body, he has a very big destiny! Book II, called MERLIN'S DRAGON: Doomraga's Revenge, continues his epic adventures. And Book III, titled MERLIN'S DRAGON: Ultimate Magic , will call on him to show the magic, power, and wisdom of the greatest dragon of all times—if he's going to save his beloved world of Avalon.

I am also delighted to announce an illustrated compendium volume, due in 2011, titled The Book of Merlin, which will reveal many secrets and back stories about more than 150 characters and places and magical objects found in all the Merlin books! Together, these two books will complete the 12-book saga of Merlin and his worlds. (And they cap off an 18-year creative process for me ... quite a journey.)

Tomorrow T. A. Barron discusses his writing process, his love of nature, advice for young writers, and the Gloria Barron Prize for Young Heroes, named after his mother, a woman who believed one person can make a difference.

NorCal Society of Children's Book Writers and Illustrators Conference

On Saturday, (April 26th) I attended the NorCal regional conference of the Society of Children’s Book Writers and Illustrators in Rocklin. It was organized by Patricia Newman (http://www.patriciamnewman.com/meet.html) and Erin Dealey (http://www.erindealey.com/), co-regional advisors, and the many helping hands always required in putting together events like this.

I’ll share a little about each speaker that I had the good fortune to listen to, narrowing it down to advice that meant the most to me. Consequently, this blog is going to be a bit longer than usual.

The keynote address was by Judy Sierra, an award winning children’s author whose current book, Wild About Books, is a New York Times #1 Children’s bestseller, and she has tons of award-winning books. (http://www.judysierra.net/)

Sierra advised the audience to: 1. Know your genre. 2. Know your audience. 3. Know yourself – how to manage your unconscious and intuition, the source of all your inspiration. She shared a lovely quote by Uri Shulevitz from his book, Writing with Pictures. It resonated with me, since among the books I’m revising, one is a picture book. Here is the paraphrased quote, as I can never scribble fast enough to get things down word for word. “A picture book is like a small theater…, the text is like a script…, every page is a new scene…, the page turn makes the pace.”

Following the address, there were four time slots for concurrent break-out sessions, two before lunch, two after. During lunch, editors, agents, and authors visited each table and chatted -- a really unique idea. (Our table was fortunate to get Mary Rodgers, Editor-in-Chief at Lerner Publishing: http://www.lernerbooks.com/ )

Each of the four break-out slots mentioned above offered three choices. I’ll share a bit from each of my choices – bits that were helpful to my concerns.

I. A Novelist’s Craft: Working Out a Plot: Speaker, Jeanne DuPrau, author of the City of Ember series. (http://www.randomhouse.com/teens/booksofember/home.html ) DuPrau is also the winner of the 2004 ALA Notable Book Award, among other awards.

DuPrau said a good beginning starts with some kind of trouble or a question or problem that has to be solve or answered. The middle has to keep the escalation building through complications, but the ending has to grow out of the beginning and address the questions raised at the beginning. All along the way, you can’t be rigid, and the story may change. But if you are true to the integrity of the story, an unexpected ending feels true and not a weird surprise.

II. TMI: Being You, Being Professional: Speaker, Brian Farrey, Acquisitions Editor for Flux, the young adult imprint of Llewelyn Worldwide. (http://fluxnow.blogspot.com/ )

Farrey was full of good advice on setting up an “online presence”. First, have a professional email address (simply your name and dot whoever). Essentially, you are “building a brand”, which can sound depressing for someone who doesn’t know much about marketing, but he turned out to have such nuggets of wisdom, I was happy I sat in on that session.

Farrey's “no-no’s included: Don’t use your site as a personal journal, venting, sniping, gossiping, etc.; whatever you write will circulate for sure and be seen by everyone. Avoid attacks or feuds. Avoid an excess of negativity. Recognize the difference between raising important issues and wallowing in self-pity. Don’t tweet or blog in anger. “Think twice, tweet once.”

I particularly liked his advice on what you should do: Be regular about blogging or tweeting – daily, weekly or monthly, however often you think you can show up. Vary your content. Share good reads. Raise money for good causes. Visit other blogs and participate by commenting. Network. Get to know other writers and librarians. It’s about camaraderie, not just selling your books. Be a community member first and a promoter second, and remember to have fun.

III. Anatomy of a Synopsis: Again, Brian Farrey.

I was happy to hear Farrey say that, while query letters are important, good writing of the book is more important, as is a good synopsis. To write a good query, you do have to tailor it to the agent or editor. Since all queries include a short synopsis, here is Farrey’s advice for a query synopsis, and the longer full book synopsis:

Query synopsis -- One or two paragraphs, highlighting characters and conflict, focusing on the plot. Don’t mention theme or explain meaning; instead, give specific details in the plot: Who is the protagonist and what does he/she want? What obstacles stand in the way? How does he/she try to get around the obstacles? What complications arise from that? Pull your short query synopsis from the first 50 pages of the book to give a “taste” of the flavor of the book.

The full synopsis is one or two pages at the most and is a short version of the book, with a beginning, middle, and end. Again, avoid talking about journeys or themes or meanings. Give a short, specific paragraph to each of the following: The character and inciting incident (conflict #1), how character copes and new problem (conflict #2), how character copes and new problem (conflict #3 and climax), (maybe go up to conflict #4 and climax), and finally the resolution.

IV. The Many Revisions of the City of Ember: Again, Jeanne DuPrau.

DuPrau advises that the most important step is to see what isn’t working. If you don’t know what’s wrong, you can’t fix it. It helps to put it aside for awhile so you can read it with fresh eyes.
Here are some things to look out for in your re-read:
1. Uneven storytelling. The tension doesn’t keep building; a “slumping” arc.
2. Lack of clarity at the start. Moving in too quickly confuses the reader about what is going on.
3. Bad basics. Poor spelling, syntax, etc.
4. Imprecise word choice. Choosing the right word is hard, so write “xxxx” and come back later with the right word.
5. Unnecessary stuff. Every incident or word, has to have a purpose.
6. Poor dialogue. a) Avoid dialogue when its only function is to give expository information. b) Don’t use distracting dialogue tags when “said” works fine.
7. Flat or inconsistent characters.
8. Absence of setting and context. It isn’t clear who is speaking, or when or where.
9. Implausibility. Would your characters really say…, do…, think that?
10.Boringness. The most fatal flaw.

The conference closed with a Question and Answer panel – all very helpful – and then it was over. Thank you Patricia and Erin and everyone else involved in making it such a satisfying day!

Not Quite the Last Thoughts on Spain, After all

We left Trasulfe (the little village near Monforte where we stay) Monday afternoon and enjoyed the leisurely drive to Santiago along a winding, well-marked and smooth highway. Neighbors had predicted rain, but it was actually a beautiful sunny day. Spring was blooming in earnest by the time we left: The hills were lush with purple heather, splotched with golden gorse; and the lemony-yellow broom was just starting to bloom in graceful strands.

Since our flight was to leave the next morning at a little after 9:00, we stayed overnight in a hotel near the airport. The rates for nice rooms are unbelievable inexpensive, and we prefer this way of exiting Galicia. (Driving those same winding roads in the dark in order to get to the airport in time is not a happy experience.)

As it turned out, our departure from Santiago was delayed due to technical difficulties -- long enough to miss all our connecting flights and have to reschedule them. We had traveled by American Airlines from Sacramento to Dallas and by Iberian from Dallas to Madrid and to Santiago. Retracing, once we reached Madrid, we were able to get new boarding passes for the flight from Madrid to Dallas at the Iberian counter, but we had to come back the following morning to get final boarding passes from Dallas to Sacramento, as American had already closed its counter. Two pieces of good news, though: 1) American and Iberian are sister airlines, so we didn't lose any money. 2) Iberian booked us a nice hotel room that included three elegantly presented meals and shuttle service to the hotel and back. There was no time to sightsee in Madrid, but we had an enjoyable last evening and a good night's sleep before setting out for home.

It was about 11:00 p.m. by the time we arrived in Sacramento, collected baggage and got home from the airport. Our dog was deliriously happy to see us (and vice versa). The next morning, though (yesterday), due to our lost day, my husband and I both had no time to idle away our jet lag. He had to get right to work early in the morning, and I had to prepare a lesson for my after-school art class.

Still, it's amazing how quickly one falls into routine. We had a wonderful holiday, but it's also good to be back into our ventures -- in my case, writing and art; in Rajan's case, designing and photography. The garden is a wonderful mess again. Wonderful because color is blossoming everywhere; a mess because the weeds are thriving again. The April art show is going well: the month is half over, and more than half of the kids' pictures have sold. I also had time to visit one of my favorite used bookstores and fall in love with two more books I immediately put on hold. (Will I ever get over my book addiction?)

There is still tons of mail (e and snail) to go through; and items in the news to catch up on. All of the news in Galicia was either in Spanish or Gallegan. Given the progress of our Spanish, we have been more or less out of the loop for a month --which could well explain why we came back so relaxed and rested.

But now vacation is over and there is much to do, like lining up some more good interviews and guest bloggers. Stay tuned.