A Story Revision Checklist

Sometimes progress feels slow,
but take the time  to revise, and your
story will sparkle.

Once your first draft is written, you can begin revising. Looking at one piece of revision at a time can be helpful. After I finished the first draft of Book 2 in the Abi Wunder series, Secret in the Mist, I let the manuscript rest while working on other projects. About three weeks later, I was amazed at how much revision was needed. Every single page of my 30,000-word manuscript has #2 pencil cross-outs, squiggly lines, and deletions—every one! 

To be effective, it’s good to have a revision plan. I stuck with a general revision the first time. That included condensing long-winded paragraphs, finding better word choices, making dialogue sound kid-friendly, and replacing “telling” with “showing” passages.

Again, I put the manuscript down. I wanted to begin again with fresh eyes. While the story rested, I shared my story outline and a few chapters with my critique group. They helped me think through flaws in the manuscript that I couldn’t see. Also, I lined up my beta readers, fellow authors and friends who love to read and have offered to give me their opinions. But before I showed it to them, it was time to move on to complete the revision process.

The next revision began a thorough analysis and can be accomplished in parts.

• My first question: What do I need to re-think? Does the title work? Are the plot points in place? Does the story have an arc? Does each character have an arc?

• Is the story structure solid?

• The first sentence, first paragraph, and first chapter are critical. For more tips, please refer to my article “Writers: First Paragraph Essentials”: https://www.writersonthemove.com/2017/10/writers-first-paragraph-essentials.html 

• Does the story have enough conflict? Stakes?

• Are there any characters who don’t have an active role in the story? If so, they either need to be taken out or given an active role in the plot.

• Are there any scenes that don’t move the story forward? Any scenes that drag? You need to find ways to change the scenes that aren’t working.

• Is the story told mainly through dialogue and action? Description can be added, but sparingly. Condense to a minimum and spread out any description “dumps.”

• Is the main character’s flaw/need evident in the beginning, and satisfied/solved from what she’s learned by the end? Does she grow and change by the end?

• Are the facts accurate?

• Are the details specific? Check for anything vague or general.

• Do a drama check. Heighten the drama wherever you can.

• Is the story told from the main character’s viewpoint? For example, any description you introduce needs to be seen through her eyes.

• Make sure the main theme shines through throughout your story. Do the minor themes bolster the main theme?

Books that have helped me the most: Elaine Marie Alphin’s boom, Creating Characters Kids Will Love. Her example on page nine is especially helpful:

His sneakers were braced against the roof’s shingles. Slowly, Benjy took one hand off the sill and gripped a lower shingle instead. Then he took a deep breath, told himself very firmly not to be afraid, and let go of the sill with his other hand . . . Why couldn’t he have been a few inches taller? Benji cursed his height silently. Even just a couple of inches would have meant his toes might have been able to feel the bench beneath him. But wishing wouldn’t make him grow.

Also helpful are books by Chris Eboch: You Can Write for Children and Advanced Plotting.

Recently, I’ve been reading and enjoying the graphic novels by Raina Telgemeier. I bought Guts, and even though my book is a chapter book and not a graphic novel, it helps to read passages now and then to remind myself to “talk” like a kid.

While writing my first book, Secret in the Stars, I had to disengage from disappointment after finding many glaring errors, when I thought the book was done. This must be the armor people talk about that writers must grow and wear, and perhaps why people admire authors so much. For the fortitude and single-mindedness it takes to do the seat-time, on and on, until we are finally satisfied with the finished product. Whatever it takes.

While writing Secret, I thought the amount of revision it took was excessive. Now that I’ve written multiple books, I understand how much revision is required. Lots. A good way to look at it is: the hard work of getting the words on paper is done. It’s time to play! Revising allows you to play with what you’ve written, rethink better ways of showing what the characters are going through, and re-do anything that isn’t working. When you’re finished, after careful attention to every detail, you can take the guesswork out of the many aspects of your story, and feel sure of your work. You’ve earned the title of a professional author.

Snail photo: By Linda Wilson

Secret in the Stars: An Abi Wunder Mystery, Linda's first book, is available at https://www.amazon.com/author/lindawilsonchildrensauthor. The next book in the Abi Wunder series, Secret in the Mist, will be available soon. Follow Linda on https://www.lindawilsonauthor.com

Where Do Authors Get Their Ideas?

Herbert the Ghost by illustrator Tiffany Tutti
Secret in the Stars, Book 1
 Abi Wunder Mystery series

By Linda Wilson @LinWilsonauthor  

Authors’ ideas for their stories come in many sizes and shapes. One might begin with an event that the author has witnessed or heard about. In the author’s trusty notebook, always with her, she jots down people, events, feelings, really anything that she observes. Later, one of these observations might fascinate her enough to develop into a story. Another author might read lots of stories in the chosen genre—such as mystery or adventure—and a story idea begins to form. And yet another might begin with a character, or even a title. James Howe thought of his character Bunnicula long before he wrote the book. R.L. Stine wrote the books in his Goosebumps series only after thinking up the titles. Many story ideas result from research into a similar or entirely different topic than your blossoming story idea. Jotting down your thoughts and ideas is a good practice. Many an author has learned that they think they’re going to remember an idea then find later that it is lost to them simply because they didn’t write it down. 

Secret in the Stars, Book 1 of the Abi Wunder Mystery series, began with an event: a visit to a Bed & Breakfast where I used to live in Purcellville, Virginia. One special occasion we had so many guests, some needed to stay at a B & B a mile down the road from our house. Before our guests arrived, I paid the B & B a visit. The 17th century white-washed stone building loomed high on a hill, down a long, winding dirt road. Along the way, cows grazed on lush green grass and flowers bloomed in gardens, completing the Virginia country charm. The proprietress sat me down in the old-fashioned parlor and regaled me with tales of the many renovations her husband had recently completed. The kitchen, modern, yet decorated with antique earthenware jars, pitchers, teapots and tin boxes, had been his latest project, she crowed. On our way upstairs to see the bedrooms, I thought she said, “Oh, here’s my husband now.” I turned, expecting to see her husband climbing up the stairs behind us. But I saw no one. Her eyes fell on a silhouette stenciled on the wall. I followed her gaze, of a man in overalls and straw hat, lantern in hand, appearing to hurry up the stairs. Without another word, she continued up to the second-floor landing.

I followed, perplexed. Where was her husband, I wondered? I asked her, still expecting to see him. She looked surprised and said, “Oh, he died a year ago.” Died? But he’s here. I can feel his presence. He hadn’t yet left her side. I knew that, though how I’ll never know. But I felt the truth of his presence in my bones. She tilted her head in the oddest way and further explained, “Why, I lost my Herbert a year ago, to the day!” I still get goose bumps every time I think of this eerie coincidence. She added, “I painted Herbert’s silhouette on the wall, as he so often looked on his way to bed.” Color rose to her cheeks, “I suppose it’s silly, but it’s my way of keeping his memory alive.”

And that’s how the Hilltop ghost story came to be. Of course, Herbert and the Hilltop Inn are entirely fiction. But perhaps you can see why I’ve never been able to forget the experience. One eerie incident and the Abi Wunder series was born. 

My idea for Book 2 in the Abi Wunder Mystery series, Secret in the Mist, formed while doing research for Book 1. I learned that the town of Purcellville had once attracted a Quaker population who had moved to the area from Pennsylvania in the early 1700s. In 2005 when we moved in, from my bedroom window I enjoyed a pastoral view of the gentle slope of a grassy hill that bordered West Virginia, a marsh that attracted red-wing blackbirds, bullfrogs, and tall grasses and cattails; and an old abandoned farmhouse and barn, across the road from our house. After studying photos of people who lived in the Purcellville area in the 1700s and 1800s, it wasn’t a far stretch to envision a young girl who might have lost her life in a riding accident, and had returned to locate her long-lost horse. The Misty Maiden, as the ghost came to be called, rises out of the marsh and tantalizes Abi and Jess with several appearances. Abi realizes the ghost wouldn’t have come back if she didn't need help; and the two friends embark on their next adventure.

Tall Boots, a picture book that I have submitted for possible publication with a traditional publisher, is about a young girl who is in a beginning 4-H horseback riding class. As a beginner, she wears red rubber boots that were really her galoshes, and dreams of becoming a skilled rider who one day would wear bonified tall, black leather riding boots. In the story, she finds herself in the ring with the advanced class at a 4-H show. Her horse jumps the hurdle, a skill she hadn’t yet learned. She is rewarded with a 4-H medallion that qualifies her to join the advanced class. This is a fictionalized version of a true story, an experience one of our neighbors had had, which at the time, I recognized as a potential story. 

A Packrat Holiday: Thistletoe’s Gift, a picture book available soon, illustrated by Nancy Batra, came about from a white-water rafting trip I took with my family down the Colorado River in the Grand Canyon. At night, we slept under the stars and rarely needed a blanket. The climate is so dry there are virtually no mosquitoes or insects, which in itself was a freedom seldom enjoyed on camping trips. In the morning, we’d find tiny footprints all over our campsite—packrats—searching for little treasures, whatever they could find. After our trip, I researched packrats and loved the little creatures so much that I envisioned a home life for them in their underground den made of twigs and cactus bits under a rocky crevice.

Once I latch onto an idea, I like to plan out my story. I’ve created a Snapshot of the process I went through while developing Secret in the Stars. 

Snapshot of Secret in the Stars

Event that sparked the idea: My eerie encounter with a “ghost” at a B & B

Protagonist: Abi

Sidekick: Jess

Ghost: Herbert

Antagonist: Norman & Angel

Blame Herbert’s wife, Dee, for his death and want to tear down the inn

Main Characters: Pop, Abi’s grandfather, Dee, Herbert’s dog Star, Jess

Setting: The Hilltop Inn, lake & woods

Plot: Abi must save the inn and prove Dee’s innocence

Conflict: Abi vs Norman & Angel

Resolution: Abi finds a way to reach her goal

How characters are affected: Each character learns something

What Abi learns: Abi realizes that she possesses a natural ability to know unexplained phenomenon. She doesn’t learn where this ability comes from until Book 2, Secret in the Mist.

How Abi has grown: The story started with Abi as a little girl, unhappy that she’s missing Art Camp, and not paying attention to her appearance. She grows into helping others and herself.

   The Abi Wunder Mystery series is a trilogy. The end of Book 1, Secret in the Stars, hints at what’s to come in Book 2, Secret in the Mist, and Book 3, Secrets of the Heart, completes Abi’s journey into herspecial ability to see into the unknown, with an insight into what she can do with it in her future.

When I first started Secret in the Stars, I couldn’t have filled out the entire plan. If this process works for you, fill out only the parts that you know, then spend time thinking about how you want to form your story, jot down notes, until you have enough to begin writing. Remember this rule of thumb: give yourself time to develop your story. If you lay the groundwork first, such as by creating a diagram or snapshot of the story parts, then you have most of the work done before you even begin to write. Once I developed this process, it saved me a lot of time. And it has helped me enjoy writing stories much more than when I used to wing it. 

Linda Wilson, is a former elementary teacher and ICL graduate. She has published over 150 articles for children and adults, and several short stories for children. Visit Linda at https://www.lindawilsonauthor.com and on Amazon at https://www.amazon.com/author/lindawilsonchildrensauthor.

Writing Tips from Author Chris Eboch

"If it's a good book, anyone will read it. I'm totally
unashamed about still reading things I loved in my childhood."
                                                     J.K. Rowling

Chris Eboch, author of over 60 books for children and author of novels of suspense and romance for adults, as Kris Bock, presented a workshop recently, "You Can Write for Children: Share your Stories with Young People." Chris’s books for children include, The Well of Sacrifice, Jesse Owens: Young Record Breaker (Childhood of Famous Americans), and The Eyes of Pharaoh. She is also the author of You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers.

Our New Mexico Regional chapter of the Society of Children’s Book Writers and Illustrators, SCBWI, is fortunate that Chris stays active, currently leading monthly ShopTalk informational meetings, and shares her expertise in many other ways. Treat yourself for a look at www.chriseboch.com and Chris’s Amazon page.

Chris geared the workshop to people in our community who have thought about writing for children and would like to learn how to go about it. And though I’ve published articles for children, a handful of short stories, and have middle grade stories and novels in various stages of completion, I bought her book, You Can Write for Children; her book coupled with the workshop provided me with invaluable nuggets to help me in my work.

Want to Write for Children? Begin at the Beginning . . .

• Think up a Catchy Title: The Genie’s Gift, Chris Eboch
• The Dead Man’s Treasure, Kris Bock
• Whispers in the Dark, Kris Bock

Make the Beginning Dramatic

• Introduce the main character, MC, with a problem and a goal which your character wishes to achieve.
• Grab your reader’s attention with action, dialogue, or a hint of drama to come.
• Set the scene
• Indicate the genre and tone (in fiction)
• Each scene needs to have a goal; MC works toward achieving that goal.
• Start in the middle of something happening.
• Establish the time and place; hint of the “world” in your story early on.
• Immediately establish the type of story: humorous, mystery, adventure . . .
• The beginning reflects what the story is about.

Move Story Forward with a Solid Middle

• The plot involves the MC working to solve the problem/reach the goal.
• Builds to a climax—a do or die situation.
• MC must change due to what he or she has learned; something they didn’t expect.
• Theme becomes apparent, though it is not stated. As MC learns the lesson of the story, change comes from this. Trust your readers to discover the theme: example can be that your novel helped your reader to never give up.

Wrap up the Story with a Satisfying Ending

• The ending can circle back to the beginning, not that it necessarily has to. 

Chris’s Tips that I’ve Found Most Helpful

• GMC each chapter:
•  Goal: What does your MC want or need?
• Motivation: Why is it important?
• Conflict: Why is it difficult?

Stories that begin with PLOT:

• Come up with a challenge; a difficult situation for someone.
• What kind of person would have the most trouble in that situation?
• The problem must be difficult, as in The Genie’s Gift: A shy girl, not adventurous; has never left the family circle; wants to be strong; needs to learn how to deal with people; in the end, she doesn’t need the Genie’s gift, she found what she needed from her own journey.          

  Stories that begin with CHARACTER:

• Write a brief character sketch: what your character likes, dislikes, fears, what                               would challenge them the most.
• Chris’s brother has a fear of heights, but he went on a difficult hike.
• Chris has a fear of suffocating because she has asthma.
• Indiana Jones hates snakes, yet gets dumped into an underground chamber                                  filled with snakes.
• What are you afraid of? Me? Speaking in front of people. Playing the piano in front of people.  What are the sensory details that happen to you physically when faced with                                your fears?

Write this on a Card and Prop it on your Desk
Chris's book, You Can Write for Children, offers a thorough explanation of her approach, much more than she could squeeze into a workshop. I highly recommend it. Here's an example:

• In Chapter 11 on Dialogue and Thoughts, Chris mentions a suggested pattern, from Manuscript Makeover, by Elizabeth Lyon: stimulus (thing happens)--reaction/emotion (physical reaction)--thoughts (thought reaction)--action (what MC does next). This simple pattern has helped me flesh out areas that I found missing in my manuscripts.

While writing one of Chris’s HAUNTED series, The Ghost on the Stairs, The Riverboat Phantom, The Knight in the Shadows, and The Ghost Miner’s Treasure, Chris came up with the question: Why should MC help the ghost? What’s the penalty if she doesn’t help him? The MC’s sister had died. If she were to meet her ghost, she would want to help her. That gave her the desire to help the ghost in the story. And for Chris, while writing the book, that revelation made all the difference.

My experience is as an elementary teacher, and like so many of us, I fell in love with children’s literature while teaching. I’ve taken courses on writing for children and learned most of what I know from those courses. I found Chris’s approach on helping up-and-coming authors understand how to write for children refreshing and down-to-earth, and very helpful. She is a delight to know, and look out. She will make you fall in love with the spectacular sunsets, azure skies and diversity of people in New Mexico. To quote part of her bio on Amazon: “Her BFA in photography is used mainly to show Facebook friends how lovely the Southwest is.”
Image courtesty of: www.clipart-library.com

One of my writing buddies
loves to hear stories

Linda Wilson, a former elementary teacher and ICL graduate, has published over 150 articles for adults and children, and several short stories for children. She has recently become editor of the New Mexico SCBWI chapter newsletter and is working on several projects for children. Follow Linda on Facebook.

Stay Grounded with Caroline Starr Rose's "Writer's Manifesto"

“We are what we repeatedly do. Excellence, then, is not an act, but a habit.” ―Aristotle

The Handsprings Conference, presented by the New Mexico regional chapter of SCBWI, which took place Oct. 26-27, 2018, at the Bosque Conference and Retreat Center, Albuquerque, NM, offered something for everyone. Faculty included such distinguished professionals as Patrick Collins, Creative Director, Henry Holt Books for Young Readers, Patricia Nelson, Marsal Lyon Literary Agency, Sara Sargent, Executive Editor, Harper Collins Children’s Books, and Caroline Starr Rose, author of award-winning children’s books, including Ride On, Will Cody!, Jasper and the Riddle of Riley’s Mine; and two books coming out in 2019 and 2020, respectively, A Race Around the World and Miraculous.

Breakout Session with Caroline Starr Rose
Caroline offered sage advice on writing for children, and for that matter, any kind of writing, in her “Writer’s Manifesto.” For at some point, writers need to “put their writing out there,” which, moving out of the cocoon of our office to meeting the public, can be a scary experience indeed. She remembers a time when she struggled. That’s when she took the time to think about what she needed and came up with The Writer’s Manifesto.

She suggests going back to the basics. Laying groundwork for yourself to refer back to again and again in your writing journey. First ask: Why do you write? Curiosity? Love of children? Love of the subject matter? Remembering why helps.

Caroline said she writes for her fifth-grade self—middle grade; picture books for children and parents. Why she writes? To make beautiful works of enduring value. She added, “I want my words to honor childhood and to extend dignity to children.”

Then there’s the slithery slope of success. For down at the bottom is the deep, dark hole of failure. The path to success is a moving target, as Caroline pointed out, with plenty of room for disappointment. Somehow, you need to find a way to survive these ups and downs, for there will be both, successes and failures. Second: What is your definition of success?

By creating sustainable definitions of why you write and what success means to you, you will have laid the foundation you will need in order to stay grounded. First and foremost, these two definitions will help keep your mindset in your control, and no one else’s. There will be no room for doubt.
In addition to keeping your mindset in your control, Caroline’s Writer’s Manifesto offers additional ways to stay grounded. Here are the two that come up frequently.

• You have become a success. You have multiple published works with traditional publishers that are selling well, even winning awards. The Writer’s Manifesto says, “Hold success loosely.” Remember: Success is a gift, not a given. It’s a gift when someone likes your book. When you receive praise and are treated as someone special, hold it loosely. Don’t think you’re more important than anyone else. Stay grounded: Remember why you write and how you define success.
• You are rubbing elbows with authors and illustrators who have garnered success. You can’t help it. You find yourself comparing yourself to them and feeling envious. And what’s worse, your peers don’t even notice you. At times like this, take the long view. Stay generous. Another person’s success doesn’t mean there is less opportunity for you. Acknowledge that you’re envious. Use your envy as a map. Follow this map to where you want to go. These successful artists are your inspiration. View them that way. Stay grounded: Remember why you write and how you define success.

Caroline’s Writer’s Manifesto can be your anchor. It can be your guide, leading your thoughts and opinions to the highest place they can go. Creating a manifesto of your own can save you a lot of time and effort, so you can re-focus your energies on what matters: your works.

Here are the questions on a handout, “A Writer’s Manifesto: Who You Are, What You Value, and Why It Matters,” which Caroline gave to each participant:
• Why do you write?
• What is your sustainable definition of success?
• How can you deal with comparison and envy?
• Creating your Own Manifesto:
*What ideals do you want to hold to?
*What truths do you want to guide you?
*What do you want to stand for?
*What do you want to avoid?

In parting, Caroline urged us: READ THIS!!! https://www.mariondanebauer.com/blog/2015/09/the-deepest-gift/

Visit Caroline's website at and her blog for helpful writing information and tips. Caroline is an active member of our SCBWI regional chapter. She lends her expertise and help in our activities throughout the year. She is a delight to know and we are grateful for her participation and support.

Clipart courtesy of: https://www.mycutegraphics.com.

Some of my writing partners

Linda Wilson, a former elementary teacher and ICL graduate, has published over 150 articles for adults and children, and several short stories for children. Her first book, Secret in the Stars: An Abi Wunder Mystery, a mystery/ghost story for children 7-11 years old, will be available soon. Currently, she is hard at work on The Ghost of Janey Brown, Book Two in the series. Follow Linda at www.lindawilsonauthor.com.

Begin Stories with your Character: A Workshop with Lois Ruby

Who will your character be?

Are your stories plot-driven, or do you begin with a character? Lois Ruby’s stories don’t take off until she has gotten to know her main character. At a recent Albuquerque Chapter of the Society of Children’s Book Writers and Illustrators, SCBWI, meeting, Lois shared her technique.

And what terrific characters Lois creates! One look at her books, and you will read a “heart-pounding romance about a contemporary girl, Lori, who falls crazy-in-love with Nathaniel, a soldier in the Battle of Gettysburg.” The only hitch is that she’s very much alive, and he’s a ghost. (Rebel Spirits, Scholastic/Point, 2013); an Austrian brother and sister who survive World War II in Shanghai, China (Shanghai Shadows, Holiday House, 2006; a Bank Street Book of the Year, 2007, and a Kansas Notable Book, 2007; a homeless girl who can communicate with a police horse in New York, and many more vivid characters. (Visit www.loisruby.com to learn more about Lois and her books).

How does Lois create such intriguing characters?

Begin with What’s Going on Inside
Lois likes to know her character’s description, but before she gets to that, she pins down:

• When they lived—where they fit into the context of history.
• What is their backstory—doesn’t show up in story, but we need to know it.
• What is their emotional status. For example:
• Saying one thing and doing something else.
• Laughing when not appropriate.
• Quick to anger—how character expresses anger.
• Tension when internal thoughts contrast with verbal response.

• How the name fits the character. For example:
• Molds the personality
• Ethnicity
• Geographical area they came from
• Nicknames
• Station in life

What’s on the Outside Comes Next
Lois arrived with armfuls of portraits (photos) of people she finds intriguing, cut out of magazines and kept in clear plastic sleeves. Each portrait raises questions. Each answer opens a window to develop and round out the character.

•  Girl or boy
•  Where does h/she live?
•  Contemporary or historical?
•  What is the family like?
•  What does her voice sound like?
•  What is the conflict in his life?
•  Adventurer or not?
•  Any annoying habits?
•  Who is his greatest hero?
•   Powerful or powerless?
•  What are the moral limits? Skin Deep, Scholastic, 1994, currently out-of-print, is about a boy who is drawn to a hateful white supremacist group. His personality changed, and his girlfriend Laurel sees this and wonders if he can ever return to the boy she loved. Lois said she interviewed three skinheads to answer this question and was horrified, but she needed to know.

Our Turn
Lois ended the workshop by displaying random words on the projector screen:
High school yearbook
Dr. Dowd
Chocolates
Camera
Laundry
$60
ID bracelet
Umbrella
Baseball uniform
Barn animals
Application

Participants were given a short time period to create a character-driven story using as many words as possible. It was fun to hear the different takes. My story evolved around a young man in his 30s flying to see his dad in the hospital after he had a heart attack, working on his job application, taking his dad’s ID bracelet to him (will he remember it?), etc.

Raised in California, Lois has called Texas and Kansas home, and now, lucky for us, she lives in Albuquerque. Her portrait-study technique has certainly yielded a solid collection of intriguing and diverse characters in her books.

A parting word about Lois’s only nonfiction book (so far), Strike! Mother Jones and the Colorado Coal Fields War, Filter Press, 2012. Mary Harris (Mother) Jones, was so concerned about the poor working conditions of a wide range of people from the 1870s through the 1920s—including, street car operators in New York and San Francisco, female bottle washers in Wisconsin, copper miners in Arizona, and the deplorable conditions of children working fourteen-hour days in the textile mills of Pennsylvania—that she called meetings and made speeches, urging workers to go on strike and fight for their rights. Authorities and industry leaders labeled her a troublesome agitator, and the story goes on. (Book is available on Amazon prime at a very reasonable price). Even in nonfiction, Lois has done it again: delighted readers with her knack for creating fascinating characters, and in the case of her nonfiction book, uncovering the story of this incredible woman.
Clipart courtesy of: http://worldartsme.com

Linda Wilson, a former elementary teacher and ICL graduate, has published over 150 articles for adults and children, and several short stories for children. Her first book, Secret in the Stars: An Abi Wunder Mystery, a mystery/ghost story for children 7-11 years old, is hot off the press and will be available soon. Currently, she is hard at work on The Ghost of Janey Brown, Book Two in the series. Follow Linda at www.lindawilsonauthor.com.

Writers: Think Outside the Blank Page

Throughout the journey of writing my first book, I’ve found sketches, pictures and notecards, have helped when composing has fallen short. Just this week as I continue to fine-tune my story—completed many months ago except for revision checks that continue to this day—I made two new sketches: How my main character has grown and How the theme is shown. But I get ahead of myself. Through much trial and error, I finally have found a process that works for me, saves time, and gives me confidence that I’ve covered all the bases.

Keep Track of the Basics in a Three-Ring Binder

• Notes: I make notes all the time on many different kinds of paper, some on small scraps by nightlight in the wee hours of the morning. These notes are stapled, taped and punched into a binder section.
• Drafts: The latest draft is punched in after the note section so when I edit, I can make sure I’ve covered the ideas on the notes, so that they can then be discarded. When the draft has too many marks, I make a new copy. Note: I go back and forth between editing on the computer and editing on paper.
• Basic information: On blank green sheets of paper, I have stapled and taped index cards that contain basic information that informs my story. This information includes, but is not limited to:

             List of characters and their descriptions: Including magazine photos and impressions of people I know who have helped form the characters.

             
            Statements: The theme, story problem, concept sentence – story description in as few words as possible, and my favorite: a longer version of what my story is about. This latter version helps me know what to say to people when they say What is your book about? I used to get tongue-tied trying to explain.

            
           Story arcs: The main story arc, an arc for each character, an arc for each important story element, such as in this story, a key, a cloud, and a deed. This is important. A dog named Star, who is important to the story, disappeared for about 35 pages. I went in and found places to add him that didn’t feel contrived, but made his presence consistent.

            Lists: Animals that appear in the story; clues and red herrings; scenes, to make sure the scenes were placed properly and also to delete any scenes that didn’t add to the story--the scene list also helped me rearrange some parts of the action that fit better; subplots; items to research for accuracy. I know I’m preaching to the choir here, but research is so important. 

Recently, I discovered that I had my character wishing on Sirius, the Dog Star, during the summer in Virginia. Oops, Sirius can only be seen in the Northern Hemisphere during the winter; during the summer Sirius is only visible in the Southern Hemisphere. Did you know the colors of hard hats depict certain jobs? How small buildings vs large buildings are demolished?

Work Out the Plot on Post-it Paper

Plotting began with long, single-spaced outlines which became defunct as soon as I started writing. Next I tried an outline-sketch, which worked better. The sketch was a mere skeleton that propped up the story. Still, the writing invariably changed the outline-sketch beyond recognition. 

Finally, I settled on writing plot-points on post-it paper and sticking the post-its on a large poster. Not only does this method work for me, but I love the process, so important, for our writing needs to be fun and joyful, not tedious. This method has many pluses.

• Your ideas don't have to be in order. They can simply be jotted down and stuck on your poster board, to be arranged in order when you're ready.
• Deleting is easy--throw unnecessary post-its away.
• Adding is easy--stick additions where they fit best.
• There is lots of room for contemplation--This is a fun part. You can stare at your creation as long as you like. Then it seems like magic: your hand reaches for your pencil and off you go, creating and having a ball.
• Arranging and rearranging--Oh boy, my favorite part! That's when your story comes alive and your ideas flow, making your story better and better.
• When you're done, it's time to write!

Work Out Character Growth and Theme on Blank Paper

Recently, I decided to chart how my character grew throughout the story. I wanted to make sure I'd shown a gradual change.

• Start with a list: The handwritten list of my main character's growth took up three lined sheets of paper. 
•  Chart the list on blank paper: I split the paper in half. On one side I briefly listed how my character began: as a little girl. On the other side I jotted down how I showed this: she jumped up and down in her seat as her grandpa races his car up and down hills. This briefer list continued to the Turning Point, when her old ways changed to a bolder, more self-confident girl who, at the end, made new friends, solved the mystery, and is ready to go home and get to know her new baby brother.

The same process was used to show the theme. There are, no doubt, more elements that can be tracked in this way, elements which need to be mentioned consistently and accurately. One-of-these-dayz, though, I must stop editing and offer up my book for publication!

Clipart courtesy of: PD4PIC Clipart; laoblogger.com/paper-drawing-clipart.html#

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she has completed her first book, a mystery/ghost story for children 7-11 years old, and is hard at work on Book Two in the series.  Follow Linda at www.lindawilsonauthor.com.

Writing Tips: Acknowledgements Page a Must!

"Let us be grateful to the people who make us happy;
they are the charming gardeners who make our souls blossom."

                                                                      Marcel Proust

The final hour of self-pubbing my first book--a children's novel--is ticking away. Checked off on my final--fini--the finale--list:

• Ms revised, edited, released to the universe and ready to go
• Artwork complete by a talented and terrific illustrator
• Book blurb ready to adorn the back cover
• Website/blog up
• Marketing plan set

Every Book Should have One
But wait. Any last-minute parts missing? You bet: the acknowledgements page! I put the question to one of my editors: should I include an acknowledgements page? She said, "Every book should have one."

Off to Google I went for my usual check-up, and I found a dissenting viewpoint (!). Though that didn't seem possible, sure enough an article was published in The New Yorker titled, of all things: "Against Acknowledgements," by Sam Sacks. Surprise! Believe it or not, there were parts I actually liked about Sacks's argument. Sacks makes clear that he is "as mindful as anyone of the pressures on the literary marketplace and the challenges of getting a novel bought and published; and the traditionally invisible work of editors is not only necessary but sometimes no less rigorous than the effort the author went to in composing the manuscript," (thank goodness). But in a nutshell, here are his reasons for opposing it:
An acknowledgements page at the end of a book can cloud the finale when it is, "in effect, an advertisement for a book the reader has already finished."
From Sacks's article, however, I did come away with two excellent nuggets to tuck away:

• Save your thank you's for your Website, or
• Include them in small print on the copyright page.

All in Favor, Say Aye

After careful consideration, I've decided to include an acknowledgements page as one of the last pages in my book. But who to thank and who must I leave out? According to Greenleaf Book Group, the acknowledgements page should be kept to one page. "A good rule of thumb is to stick only to the people who helped you directly in writing and producing the book . . . Common acknowledgment ideas are family members, sources for nonfiction pieces, your editor and designer/illustrator, your publisher, and your book mentor." Also, "Be parsimonious in your praise of animals, too. Sorry, Spot."
Here is an example of the people I'm most grateful to:

• I've mentioned the courses I've taken in hopes of helping writers who have read my book and dream of writing their own book one day to know where to look to learn how and receive support.
• Authors and editors such as Karen Cioffi, author extradinaire and owner of www.writersonthemove.com, and Carolyn Howard-Johnson, who writes for WOTM and never tires of helping writers, especially in her books, The Frugal Editor, The Frugal Book Promoter, and How to Get Great Book Reviews Frugally and Ethically; who have mentored me, offered their friendship, and are there for me when I need their help.
• My family, who have given me their support and encourage me through many years of trial and error.
• My readers who have read early drafts of my book and some who have shared it with their children and have offered invaluable advice.
• The professionals at my publisher for their expertise and unfailing support.
• My critique group who have offered advice and encouragement.
• And the illustrator of my book, whose enchanting illustrations have made the characters come alive.

My book would not have been possible without my family members, friends and colleagues' advice and support. It is most gratifying to include them and give them my thanks in each and every copy of my book.


Handshake image by Sam Garner, AU, courtesy of: https://thenounproject.com.
Caption courtesy of: http://www.goodreads.com/quotes/tag/

Really? It takes drafts
three feet+ tall to write a book?

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she has completed her first book, a mystery/ghost story for children 7-11 years old, and is hard at work on Book Two in the series.  Follow Linda at www.lindawilsonauthor.com.

What it Takes for your Character to Overcome a Bully

Try to look at your weakness
and convert it into your strength.
That's success.
Zig Ziglar

Upstanders unite! An upstander, as described in Bullying: Prevention and Intervention--Protecting Children and Teens from Physical, Emotional, and Online Bullying, by Cindy Miller, LCSW and Cynthia Lowen, in May's post, Bullying 101, is the person who is willing to stand up to the bully. Targets are kids who don't take action, and who are afraid of the bully and can't hide their fears. Often targets don't fit in with their peers.

Through Thin to Thick

Overcoming bullying boils down to developing a thick skin. So, strategies the character in your story needs to build to overcome his tormenters may include:

• Knowing he's an equal to others.
• Doesn't accept negative comments without sticking up for himself.
• Doesn't yell, swear or lecture, but stays calm; and an excellent line of defense is to ask questions.
• Doesn't accept what the bully says or does.
• In real life, if everything else fails the target needs to seek help from an adult. But in stories, your character must figure it out for himself.

A Hero is Born

How does your character develop these strategies in the first place? Knowing them are important so you'll know how to show how your character is weak in the beginning of your story, discussed last month, and how your character discovers how to build strengths by the end of your story.

The secret? Self-confidence! Here are some ways you can show how your character builds self-confidence in order to fend off the bully. He needs to:

• Feel good about something in his life.
• Feel worthy and loved by others.
• Know how to ask for what he wants and become an advocate for others, too (so he's not just thinking of himself).
• Make eye contact when speaking to others.
• Respect other people, applaud their similarities and differences.
• Remain positive with others and supportive, never tearing anyone down.
• Have a built-in value system so that he is not easily swayed by someone trying to take advantage of him.
• Confront his fears, which helps him develop self-confidence and courage.

My Personal Caveat

The bullying my poor character endured was laced with humor. In the beginning of the story, she was a tad reluctant to engage in physical exercise, looked for the easy way out of things, and lacked flexibility. The bully tried to put her down, but because of the confidence she gained through trial and error (in authorese, the struggle she went through in order to grow), she never bent to the bully's wishes and the bully surrendered like a plucked weed. In the end, the strengths my character developed resulted in the admiration of the other characters, even her bully.

Clipart courtesy of: http://clipart-library.com/
Source: Bullying: Prevention and Intervention--Protecting Children and Teens from Physical, Emotional, and Online Bullying, by Cindy Miller, LCSW and Cynthia Lowen, and personal experience.

The drafts of my first book
make a good elbow rest! 

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she completed Joyce Sweeney's online fiction courses, picture book course and mystery and suspense course. She has currently finished her first book, a mystery/ghost story for 7-11 year-olds, and is in the process of publishing it and moving on to new writing projects. Follow Linda on Facebook.

Bullying 101

Kids are cruel. That's a known fact. Kids who take cruelty to the extreme become bullies. The reality is that bullying is and will continue to be a part of every child's life. Even in institutions with an active anti-bullying program, kids go underground and carry on in any way they choose. You know, like when we were in school.

We as children’s writers want our stories to reflect the lives of young people. We can speak to kids' lives by including a bully in our story and showing how our characters react to her. 

What is Bullying?

The regrettable dynamics of bullying comes in the form of the viscous "bullying triangle" of the bully, the victim, and the bystander.  

Bullying takes on many guises. Its main intent is to hurt someone and is relentless in its delivery. Once a bully zeroes in on a target that he deems small, helpless and/or weak, he preys on his victim over and over by calling him names, recruiting cronies to gang up, and in the worst cases, the bullies can become physically violent. 

Often bullies are bigger kids who pick on kids who they think won’t stand up for themselves, and kids with few friends. But that’s not always the case. A short kid could be a bully as a means of defense against his size, and even a kid who has been bullied can turn into a bully to gain favor from his previous aggressor. As Kaitlyn Blais put it in Bullying Under Attack: True Stories Written by Teen Victims, Bullies and Bystanders, edited by Stephanie H. Meyer, John Meyer, Emily Sperber, and Heather Alexander, “Every kid wants to be ‘cool, popular, and in.’ The problem is that you can’t be ‘in’ unless someone is ‘out.’” Kaitlyn stood up for a victim who turned on her and victimized her. She wrote that she learned from that experience that “there needed to be only one black sheep.” 

Inside a Bully’s Head

First and foremost, a bully hates himself. He is hurting inside. Why? His home life may be unhappy. He may imagine that he has an embarrassing flaw and feels self-conscious about it. So he picks a victim who appears weaker than him and lashes out. If he gets away with it, he feels a sense of power and as his behavior continues, he becomes hooked. Eventually, as confessed bully Michael Ortiz wrote in Bullying Under Attack, Michael lost control and any ability he might have had to tell right from wrong. The hate he inflicted on others replaced the hatred he felt for himself.

Target  Practice

The victim is led to believe that more harm will come to her if she seeks help, and anyway, she doesn't want to be a tattletale. Lacking the proper skills to defend herself, she takes it and takes it until her life spins out of control and she descends into self-pity and worse. In dire cases, the victim may resort to harming herself by retreating into her own lonely world, and worse--cutting and even suicide. If a child is fortunate enough to rise above her unhappy situation, she is often left with long-lasting scars. 

Enter an Audience and the Triangle is Complete

Bystanders witness the bullying--the presence of bystanders actually encourages the bullying. The bully loves to show off his skills, especially if he is egged on. And even if the bystanders remain silent, the bully believes that they are lending him support.

Bystanders might:

• Look the other way
• Avoid any people or place where bullying might take place
• Are afraid or embarrassed to speak up
• Feel helpless themselves
• Don't think they should interfere
  
  
  When Bravery Wins Out
  Enter the rare person who is willing to stand up for the victim, dubbed the upstander, in the excellent chapter "Understanding Bystanders," in Bullying: Prevention and Intervention--Protecting Children and Teens from Physical, Emotional, and Online Bullying, by Cindy Miller, LCSW and Cynthia Lowen.
   
  
  If You’ve Never Been a Part of a Bullying Triangle
  The closest I have come to a bullying situation was breaking up fights as a classroom teacher. Other than that, I have never became involved so I can’t speak from experience. But I have been hurt by girls who I considered my best friends. Granted, the scars couldn’t be as deep as the scars from a bullying situation, but there are scars. For two years I stewed over one friend’s hateful behavior toward me until I forced myself to stop and I finally got over it. The good news? I have a "well of darkness" to draw on in the portrayal of bullies and villains in my stories. I’m thankful for these experiences, for as writers, we draw on every scrap of personal experience and emotion we can.
  Please leave a comment if you’ve experienced bullying and let us know how it has affected you and your writing.
  Illustration: Courtesy of www.constantcontact.com
  Next month: What it Takes to Overcome Bullying   
  
  Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she completed Joyce Sweeney's online fiction courses, picture book course and mystery and suspense course. She has currently finished her first book, a mystery/ghost story for 7-11 year-olds, and is in the process of publishing it and moving on to new writing projects. Follow Linda on Facebook.
  
  

  
  

  
  

  
  

Writers: Fine Tune your Characters' Friendships



Nobody sees a flower really; it is so small.
We haven't time, and to see takes time - like to have a friend takes time.
Georgia O'Keeffe

Friendship, I think it's safe to say, is an issue in most if not all children's books. Now that my MG mystery is finished and in the hands of editors, I realize a subconscious exploration of friendship had been going on during the writing, some good, some bad.

Friendships are important - if not crucial - for our well-being.

An Aha Moment

The book was done. Fini. Caput. Honest. Time away, in its wisdom, has continued to fine-tune unexpected areas that felt complete only days ago. The questions began to rise like the broth in vegetable soup: Did I cover enough ground in my portrayals of my characters' interactions? Can I make their growing friendships more meaningful?

There are four major friendships-in-the-making:

mc + sidekick

mc + grandpa

mc + dog

mc + cat and her kittens

The antagonist isn't having it:

antag - bullies mc

antag - is jealous of mc

antag - is mean and cruel - a bully

antag - her egotism blocks any hope of friendship unless she changes

The antagonist's problem? The eleven-year-old mc and her sidekick compliment each other. Friendship blooms. She doesn't know how to be friends.

Nothing can replace the value of a close friendship.

Example of a friendship-in-the-making:

Sidekick:                                                                     mc:

not in tune with subtleties of others                           empathetic to the extreme

athletic                                                                        not athletic at first

cautious, not wanting to get in trouble                       is willing to take chances, curious,                                                                                         adventuresome

entrenched in her immediate surroundings                 thinks outside of the box

outdoors type                                                              artistic, prone to indoor activities

By the end of the book, the characters learn from each other and share their qualities. The master plan is to expand this book into a series. The characters will grow. Their friendships will deepen. That's the goal.

Develop Positive Traits of Friendship

As I wade through this partial list of how my characters can become better at being friends, think of the portrayal of your characters' friendships. Do they need fine tuning?

Making and retaining friendships isn't easy.

Choose your friends wisely.

Believe in yourself.

Be introduced.

Be loyal.

Be positive.

Be reliable.

Be respectful.

Be trustworthy.

Be careful not to be hurtful.

Be a good listener.

Be truthful.

Be confident but not egotistical.

Have fun.

Have the shoulder a friend can cry on.

Keep in touch.

Make eye contact and smile.

Remember birthdays and special occasions.

Show interest.

For more information, check out the entire articles that contributed to this article:

How to Make and Keep Friends

How to Make Friends

Be a Fun Person to Hang out With

Georgia O'Keeffe quote

Photo: By Linda Wilson

Linda Wilson, a former elementary teacher and ICL graduate, has published over 100 articles for adults and children, and six short stories for children. Recently, she completed Joyce Sweeney's online fiction courses, picture book course and mystery and suspense course. She has currently finished her first book, a mystery/ghost story for 7-11 year-olds, and is in the process of publishing it and moving on to new writing projects. Follow Linda on Facebook.