How do you write?

At our SCBWI schmooze last night we discussed how and when people write. Once they have all the information? Before they finished the research?  How do they organize - with note cards, sticky notes, scraps of paper, on the computer? We determined the method depends on the person.

According to Teresa Funke, there are several methods and one should choose whichever works for them. One of my unpublished books, a fictional autobiography of one incident from my childhood, I wrote by just sitting down and writing. I mentally knew where I should start and where I should end. All that came between was chronological.

Another unpublished book, called Monkey Madness, came about by setting up chapter names. I knew some of the events I wanted to include in this wacky, time travel, adventure chapter book of three boys who go through the picture frame of a famous painting into Paris. The writing came easy because I knew where I was going. A little research along the way added the necessary information for the time period.

Finally, I started work on my Charles Russell book that comes out this Spring. This non-fiction, art appreciation children's book needed a different format. I read many accounts of Russell's life and painting life. I chose which 12 pictures and one self-sculpture I wanted to use. I knew I'd approach each object the same as when I give art museum tours - questions to have the viewer look at the work, some tidbits of interest and a closing sentence that possibly led to the next object. Each object only needed about 200 words. Sounds easy but how do you get all the information across you want readers to learn when you have pages of notes! At any rate, the writing came easy once the "outline" was finished.

The follow-up book on Frederic Remington deployed the same method and the writing came easily. My outlines may not look like outlines but they worked for me.

I have learned that for me several methods work. However, the ones where I had a definite written plan worked the best.

How do you write? Do you research first or as you go? Do you have a method of note keeping you might share? How do you put together the plot and subplots? Do you make character sketches? When do you fact check? Do you use the same method/methods for writing short stories or articles, fiction or non-fiction?

Pelican Final Submission and more

We returned from our Alaskan cruise tired from late dinners and late night Dixieland Jazz music by three bands. Although we loved the cruise, we now need to recuperate and get back in gear.

The mailbox contained the Amon Carter CD I’d been expecting. That means I’ve worked all day on producing all the documents Pelican Publishing requires for final submission of HOW THE WEST WAS DRAWN: COWBOY CHARLIE’S ART.

Besides the special CD format of the single-spaced manuscript I downloaded, I included the introduction telling how to use the book, dedication, book description, bibliography, timeline, credits page and the pictures. I printed two double-spaced copies of the manuscript and copies of permissions.

I was surprised to learn Pelican listed my “new contract” on their Facebook page. I guess the marketing trail has already begun.

Actually, it will begin on July 22 when I sit with three other writers on a panel of “first book” authors for the Northern Colorado Writers group. I’m hoping for a good turnout even though I haven’t books to sell at this point. I’ll be included in Pelican’s 2011 Spring catalog.

I’d like to also write a flyer of how to incorporate the book into school curriculums that I can hand teachers after a presentation. I have a head start with all my museum docent experience and the introduction I wrote for the book.

I’ve ordered books from Amazon on Frederic Remington. In other words, I’ll be working on a similar book with his art as the subject. As soon as Russell gets underway, I'll querry Pelican on Remington.

I’m keeping my fingers crossed that someone will now show interest in my other children’s books - a picture book on moving toddlers, a fictional autobiography of one year my father kept me against my will in Chicago when I wanted to live with Mom and brother and an adventure fiction book where three kids go "through the picture frame" of Georges Seurat's pointilist painting and encounter many Paris attractions/obstacles while trying to capture the painting's monkey.

Plan now for your future books. Write an introduction, description or jacket flap, dedication and timeline if writing non-fiction.

Non-fiction Requirements

OOPS! Where did the week go? The holiday messed up my schedule and I'm a couple of days late and dollars short. But, here goes on another requirement by publishers.

Little did I know when I wrote a non-fiction book that I might be required to pay for the museum permission to use art photographs. I discovered (for this publication) authors not only acquire and pay for permissions to use same, but, they also pay for the print run of said photos. It isn't horribly expensive but still a surprise.

I contacted the Amon Carter Museum about permission. However, being rather organized as I am, I found I jumped the gun. Amon Carter required the print run number and possible publication date. I emailed the editor. That's when she informed me to delay any museum contact until I received the returned, signed contract, even though the contract had a deadline and a request for permissions by that deadline. At least that is how I read it. I’d already received the museum contract but I tabled it until a later date. Signature and pre-payment were required.

In the meantime, Amon Carter explained that three of my painting requests were no longer their possessions. I knew about one after attending a retrospective of Russell's work at the Denver Art Museum (DAM). There was "The Hold Up" a major piece I used in my book. Credits claimed ownership by a local collector. I contacted a DAM docent friend from years past when I served as a DAM docent. She gave me the phone number of the collector because she knew his wife as an active member of the museum.

Imagine my excitement when he agreed to let me use the painting at no charge. He even sent me a print ready photo. In our discussion I named the other two paintings Amon Carter no longer owned. "I know the collector. I'll contact him." Now, a month later, I have print ready photos of all three paintings and permission to use at no charge from the generous collectors. Also permission to use one on the cover. Amon Carter charges an additional fee for cover usage.

I learned a lesson. I doubt there was any way to know my responsibilities in this situation beforehand. Perhaps, if I'd researched a little more, I might have discovered the expense. However, market guides don't include that information, a contract does. Next time I'll know what to expect and so will you!

Outline, description and "teasers"

Next on the list of requirements by the publisher is an outline, book description and "teaser" facts for history or non-fiction. My book is a non-fiction/history interactive picture book on Charles Russell, the sculptor/painter.

Usually by the time my manuscript is complete, I have an outline. I've written a book from an outline as well as without one. Hopefully, if your book is finished, you already have what you need.  Since my book is based on 13 Russell art objects, the outline was easy - list the pictures. If I tell anything about them, I'll have written the whole book; it's only 1890 words. 

The other two requirements present some problems. Again, I'm not sure what kind of description the publisher wants - an elevator pitch description, a jacket flap description or something in between. I've done all three. They can take their pick.

The "teasers" required more thought and my searching for interesting points. Which really wasn't all that hard since I think the book consists of interesting points. I've come up with fifteen, some more interesting than others. I hope they meet the editor/marketing department's wishes.

Now I'm waiting for the developing of my recently made publicity shot. The sooner I send in the contract, with a picture attached, the sooner I can order the digital pictures, for the most part, from the Amon Carter Museum and get the show on the road. If all comes in by this summer, the publisher predicts a Spring 2011 publication date. I'm crossing my fingers, toes, eyes - anything that crosses! Actually, I've said a few prayers.

Let's Get Started

You can be a writer. In this blog, I’ll interview authors, give writing tips, list conferences, research books, and find links to other writer’s blogs. I’ll even throw in a few personal tidbits like the information below on how I got started.

As a senior in high school, an A+ on a story assignment encouraged me. I wanted to write, but other things got in the way – college, marriage, children. I composed newsletters, Christmas letters, invitation poetry and a children’s story. In my 50s I told my husband I’d like to enroll in the Institute of Children’s Writers beginning class.

“What do you want to be when you grow up?” he asked, with good reason, I might add. I majored in education with a minor in English. After having children, I decided to be a stay-at-home mom. Besides childcare, I sewed, read, taught religion, gave tours in art museums, volunteered in classrooms and PTAs, decorated our house, made crafts and wrote for homeowners and newcomers newsletters. Now I wanted to write for “real” publication.

Needless to say, I took the correspondence class, joined SCBWI, critique groups and took workshops in the three states where we lived before my husband early retired and we returned to Colorado. At that time I had one publication of a puzzle in a children’s magazine.

My new critique group took me under their wing. After a few years and several rejections, two of us attended a writer’s retreat at the Franciscan Center in Colorado Springs. I listened carefully to every workshop presenter. But, with each new speaker and activity, I began to question. What makes me think I can write? Why am I here? Am I too old to begin? Do I belong?

The second night before dinner, I walked to Mass with my friend, knelt and contemplated again my questions, adding a few more in my prayer. Am I wasting my time? Or the time of others? Do I have something to say and the talent to say it? Just give me a sign, Lord.

The priest opened his sermon with a familiar story. A woman was asked, "What's the worse four-letter word your child can say?"
"Can't," she responded. She never wanted her children to face something and think it impossible.

The priest explained, “It is impossible for us to feed five thousand with five loaves and two fish or build a mountain or pluck a star from the sky. However, with hard work and perseverance ‘can't’ need not be a part of our vocabulary.”

With each of his additional examples, I recognized the sign. "Thank you, Lord," I whispered.

After that spiritual nudge I could hardly wait to get home to my computer. I buried myself in my office, ignored house dust and unvacuumed carpets and fixed quick easy dinners. I wrote not one but SIX articles and mailed them off to various magazines.

A month later in December, our bundle of mail contained a return envelope from one of the magazines. Tearing open the letter, I read not a rejection but my first acceptance of an article. Not even a week passed before a second sale arrived and a third followed within a short period. On Christmas Eve, I received a special gift - a fourth notice of an acceptance.

My writing doesn’t pay our bills. But, it is my source of pride and accomplishment. Still, I remind myself that “can’t” need not be a part of my vocabulary. I submit articles often with acceptances as well as rejections. Now I concentrate on my children’s books. I pray for a children’s book contract. It will come.