For Writers

Where do you get your ideas: a case study

By on September 4, 2017   /   For Teachers, For Writers, Writing  

“Where do you get your ideas?”

This is a great question that gets asked during every Q&A session with an author. It’s simple. It’s complex. The answer is different for everyone, but the short version is always some variant of, “Anywhere, everywhere, and nowhere.”

While wrapping up the third book of my Galaxy Games series, I found myself thinking about what comes next for me and my writing. It made me really stop to think about where my ideas come from. Because wherever that was, I desperately needed to go back for something new!

But the harder I hunted for a fresh idea, the more elusive they seemed to become.

Step #1: The Idea File

My computer is full of old projects, one-page treatments, and sample first chapters. A while back, when my daughter was developing her sense of humor, I had the idea to write about muses.

In classical Greek mythology, the muses were nine women who inspired all kinds of creativity in human beings. One is a muse of comedy, another is a muse of tragedy, another is a muse of music, another is a muse of dance… It seemed natural to have these supernatural beings still kicking around in the modern world, and competing for controlling interest over a budding young artist, author, or stand-up comedian.

So I wrote some chapters, and they were awful. They went nowhere, but I kept them in my idea file anyway.

And I made a note for the future: “There are some really fun characters in Greek mythology.”

Step #2: Stay Alert for Ideas

Probably a couple times a day I’ll find myself saying, “That would make a great story.” It may be in response to a news article, a conversation, a picture, or a song. Most of these great stories aren’t the ones I’d want to write, but I can imagine them as a book I’d want to read or a movie I’d want to watch.

I could put them all into my idea file, but mostly I don’t bother. 

Then one day, earlier this year, a tweet popped up in my feed from a local newspaper’s Twitter account. It linked to a story about a high school from a couple towns away from me whose track and field team having a particularly good season. Especially in the javelin event.

“That would make a great story,” I thought, and this time it was one I wanted to write as well!

Step #3: Apply Personal Experience

When I read about the javelin competition, it brought back a flood of memories. I was a member of my high school track team. I learned to throw the shotput and javelin, jump for distance, run for speed, and pass a baton. I had a lot of fun and have many great memories, and the one regret that I wasn’t quite fast enough to earn a letter.

Personal experience is the key to finding the story that only you can tell, which will hold your interest through the writing process, and which will resonate as truthful for your readers. I know how to throw a javelin, what muscles are used, what it feels like to launch it down the field, the smell of the grass, the roar of the crowd. And I know well what it was like to not come in first. Or second. Or third.

It wasn’t a story yet, but a feeling that could become the kernel of a story that would resonate with my personal experience.

Step #4: Take Something Ordinary and Make It Extraordinary.

I know some great writers who can take an ordinary experience, like my not quite lettering in track, and make it into a compelling story. I can’t do that. I don’t even try. For my first Galaxy Games book, I essentially told a story about how I used to shoot baskets at my friend’s driveway hoop when I was ten. Except that I added some space aliens and the President of the United States, and put the fate of the world in the balance.

Start with an ordinary story. Add something new. Take something away. Push something to the extreme.

So for my new project-in-development, I turned my personal story about track into one about a prodigious track star with precognitive abilities. Because what’s more fun than a psychic in running shoes?

Step #5: Create a Contrast Character.

Every main character needs a counterpart, foil, antagonist, partner, or all of the above.

When I took track and didn’t earn a letter, that wasn’t much of a story. If I’d been a prodigious track star with precognitive abilities, things would have been a little different, but still not much of a story.

So for contrast, I added a budding journalist who is suffering from retrograde amnesia after a near-death experience.

It sounded good in my head, but when I threw these characters into my computer, I ended up with a Chapter of Awful.

Step #6: Write a Chapter of Awful

This is important. Let yourself write something awful. I mean, don’t plan for it to be awful—just don’t get upset if it is.

Maybe my “precognitive track star meets amnesiac journalist” chapter wasn’t all bad, but it certainly was angsty. After spending so much time spent on light-hearted middle grade, angsty was a refreshing change, but it wasn’t the world I wanted to inhabit for the full length of a novel.

And if I didn’t want to live there, I certainly couldn’t expect a reader to want to live there.

Step #7: If your story isn’t working, try a riff on it

I kept with my Chapter of Awful but also started on something light and fun as an antidote to all the heaviness, planning to put it as an interlude between the first angsty chapter and the second.

Track and field and precognition in modern times made me think of the Olympic Games and oracular prophesy of Ancient Greece. It even fit a prime item in my idea file: “There are some really fun characters in Greek mythology!”

So my interlude featured Hercules getting his butt kicked in a javelin-throwing contest.

I had fun with it, and started to think more about the character of Hercules. I’d read about his twelve legendary labors back in grade school and hadn’t thought of them much since. But when I was a kid, I’d always seen Hercules as something of a villain. Sure, he does some good deeds—ridding the land of monsters, cleaning out some guy’s stables, picking fruit, and all that—but only because he’s being made to do it. He murders his entire family, successfully pleads an insanity defense, and gets off with community service. Because the “driven mad by Hera” excuse was the Twinkie Defense of the ancient world.

Making Hercules into a villain is like making Superman into a villain, except that Hercules has no kryptonite. How can a mere mortal ever hope to take down a god? This was the story I want to tell!

So I tossed the Chapter of Awful and went to work on the riff instead.

Step #8: Explore the Backstory

My story is about an ordinary character in the world of Greek mythology who must take down the villainous Hercules. I feel really good about this except for one thing; I don’t know who this main character is, where she came from, or what motivates her.

So before I could write the story I originally planned to write, I needed to find the real beginning. That’s where I am now: the formative years of an ordinary character who aspires to do extraordinary things. Someone who can’t throw a javelin all that well and probably wouldn’t letter in track, but is destined to take one of the most powerful beings in all of mythology.

Where did this story come from? The short answer still applies: “Anywhere, everywhere, and nowhere.” But the long answer is still a work in progress.

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Revised and Updated

By on August 21, 2017   /   For Writers, Writing  

Peachtree Publishers is putting new covers on my companion novels Do You Know the Monkey Man and Yes, I Know the Monkey Man! What do you think? Here are the original covers:

 

 

 

 

 

 

 

And here are the new ones:

Do You Know the Monkey Man was published in 2005. I signed a contract for it in 2003 and I wrote the first draft before 2000. My main character listened to her music on a Walkman in my first draft. (That was changed to “MP3 player” before publication. “MP3 player” rather than iPod, because who knew how long these iPod things would even be around?)

As soon as I saw these new covers, I asked my editor, Kathy Landwehr, if I could revise and update the books. She agreed that I could, so I marked the deadline on my calendar and noted I also had a MUF post due right around the same time. Suddenly I had a topic for this post: revised and updated middle grade novels!

I knew Lauren Myracle revised and updated her Internet Girls series ten years after they were published. I just saw this article on the Nerdy Bookclub blog and learned that James Preller recently revised and updated his Jigsaw Jones books. But when I started talking about this with people in my various writing circles, I had a hard time finding anyone else who had revised and updated a book. I wondered why that was. Were books simply not staying in print long enough to warrant an update?

Peachtree tends to keep their books in print for many years, so I asked Kathy if she could put me in touch with any of their other authors who have revised and updated one of their books. She couldn’t. Because she didn’t know of any other authors who had done it!

She said, “We’ve revised a series that began publishing in the nineties to update some references in the early titles, so they’d be consistent with the more recently published books. The editorial staff reviewed the books and had the author approve all of the changes. Some of our backlist is historical and doesn’t require updates. Many contemporary titles are set in the outdoors and the content, which doesn’t involve much technology, doesn’t require updating. And then there are some titles in which dated references are so thoroughly integrated into the plot that updating them would require a major overhaul. We haven’t felt that this sort of update would improve the reading experience; kids are perfectly capable of understanding older references and technologies, just as they understand them in historical fiction.”

Okay, once I got in to my own revision I understood what she meant by “references so thoroughly integrated into the plot.” Some of the things I wanted to fix weren’t as easy to fix as I had hoped they’d be. It was like dominoes. As soon as I changed one thing, that change affected something else.

Was this really worth it? This whole thing was my idea. Nobody told me I had to revise or update my book.

I talked to my friend Carol Gorman, who has gotten rights back to many of her previously published middle grade novels and released them under her own publishing imprint, Skylark Lane Press. I wondered whether she had done and revising or updating. She said, “I revised and updated all of them, including my first novel, published in 1985! The characters now have cell phones and they like Harry Styles instead of Leonardo DiCaprio. Although Harry Styles is now probably out of date!”

I asked how she felt about the revision and she said, “I think the improvement is mostly that the books will appeal more to today’s kids than if they felt ‘old-fashioned.’ I learned when I taught at Coe College that today’s kids think that anything, say 8-10 years old, is ‘back in the day’ and really ‘old’!”

I also talked to Robyn Gioia, who published a children’s mystery entitled Miss President with a traditional publisher years ago. Like Gorman, she revised it after it went out of print and self-published a new edition. She said, “Self-publishing was just becoming big and many authors were doing it, so I fleshed it out more, made it stronger in several parts but basically kept the story the same.”

But then after a couple of years, she decided to revisit the story. She decided she wanted to turn it into a fantasy! Talk about a major revision! She said, “I had just read the Rats of Nimh to my class and thought it would be fun to work in a different style. I drastically changed the story.  The Ghost, The Rat and Me is totally different than the original and I love this version the best.”

I did decide to go forward with my revision, too. But wasn’t just technology that I updated. The speed limit in Iowa has changed since I first published Do You Know the Monkey Man. (You’d be surprised how many kids wrote to tell me that the speed limit was 70 on the freeway. Not 65 as my characters said.) I also realized psychics probably charge more today than they did in 2000. And teenagers are paid more for babysitting now than they were then.

I ended up changing quite a few things. Things I didn’t necessarily intend to change. Things that had nothing to do with technology. I’m a better writer now than I was in 2000, when I wrote the first draft of this book, so once I got in there, I just couldn’t stop myself from fixing EVERYTHING. I didn’t make any plot changes, but I did a lot of work at the sentence level. And I changed one very big scene that I had never been happy with. I had a different editor at Peachtree when I first published this book. This was one of my early books, and at that time in my career I tended to do whatever my editor said, whether I agreed with her or not. Most of the time I did agree, but there was one scene in this book that I strongly disagreed with my editor on. But I rewrote it her way anyway. And I’ve always regretted it.

Well, now I have a new editor. And a chance to rewrite this book. So I rewrote that scene the way I wished I could have written it in the first place. And I didn’t tell my new editor what I did. If she finds it (and I suppose she could find it if she turns on track changes) and she misses the dialogue I took out, we can talk about it. But I don’t think she’ll find it unless she does turn on track changes.

Working on this revision reminded me of something Elizabeth Gilbert said when she was in Seattle a year ago. She was talking about reviews and how she doesn’t let them get her down. She said, “Do they think I don’t know that’s there? I wrote the best book I could at the time.”

That last sentence really resonated with me. I can be a bit of a perfectionist. (I can hear every editor I’ve ever worked: “A bit???”) The truth is no book is ever going to be perfect. We do the best we can at the time and then we let the book go.

But sometimes we get a chance to take another stab at a book. Under the guise of “updating the technology.”

Now that my “update” is done, I’m glad I took the time. I can’t say it’s a perfect book. But it’s better than it was.

And I can’t say that it’s totally modern. But again, it’s better than it was. And I really appreciated the opportunity to go back and make it better.

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Interview and Giveaway with Jessica Lawson

By on August 16, 2017   /   Author Interviews, Fiction, For Kids, For Librarians, For Parents, For Teachers, For Writers, Giveaways, New Releases, Writing  

Today we’re pleased to be interviewing middle grade author Jessica Lawson. We featured her novel Nooks & Crannies on Mixed-Up Files back in 2015, and she’s back today to talk about her latest book, Under the Bottle Bridge.

In the weeks leading up to Gilbreth, New York’s annual AutumnFest, twelve-year-old woodcraft legacy Minna Treat is struggling with looming deadlines, an uncle trying to hide Very Bad News, and a secret personal quest. When she discovers mysterious bottle messages under one of the village’s 300-year-old bridges, she can’t help but wonder who’s leaving them, what they mean, and, most importantly…could the messages be for her?

Along with best friend Crash and a mystery-loving newcomer full of suspicious theories, Minna is determined to discover whether the bottles are miraculously leading her toward long-lost answers she’s been looking for, or drawing her into a disaster of historic proportions.

Hey, Jessica! Welcome back to the MUF! Can you tell us how came  up with the idea for this novel?

I always thought of bottle messages as things that were found bobbing up and down in the ocean. For whatever reason, when I was brainstorming new story ideas, I had this picture in my head of a girl finding message bottles in a shallow, empty ravine—a place that used to run with water, but had been dry for hundreds of years.

As for the setting, I’ve always been fascinated by traditional arts—blacksmiths and weavers and candlemakers and such. I wondered what it might be like to live in a modern-day place that really valued those talents, and what sort of encouragement and pressure the children of artisans might be given to continue that work. Those elements blended and I had myself enough to start writing

This is your first crack at a contemporary story. What were the challenges for a writer used to historical settings?

Well, I cheated a little. Under the Bottle Bridge is set during autumn in a modern-day artisan village that’s steeped in tradition and history. While there are modern conveniences like cell phones and yummy pizza restaurants, there’s definitely a thread of the town’s history being very much alive. Each chapter opens with a consecutive piece of village history that leads-up to a reveal that concerns Minna, and the Gilbreth’s annual AutumnFest involves people in period dress…bottom line, you can take the author out of historical fiction, but you can’t always take the historical fiction out of the author.

Honestly, I couldn’t get away from my interest in personal history and how it shapes us. There’s an Alex Haley quote at the beginning of the novel: In every conceivable manner, the family is link to our past, bridge to our future. I think that, for better and for worse, that’s so true.

In terms of challenges, dialogue had to be more modern than I’m used to writing and school scenes had to reflect modern conveniences.

Your character, Minna, is raised by her uncle and she reads all of the parenting books that he buys for himself—the titles are pretty funny (for example: Rollercoaster: The Oft-Nauseating Ups and Downs of Parenting Kids, Tweens, Teens, and Twenty-Somethings That Won’t Leave the House). Have you read many parenting books?

I have not read many, but I am a mom and stepmom to four kiddos (ranging in age from 4 to 22) and I think it’s nearly universal to have the occasional wish that our precious children came with a straightforward handbook. It can be intimidating to be the framing influence in our children’s lives, just as it can be scary to navigate the ups and downs of childhood. Minna reads all of her uncle’s books and has sort of internalized all of the advice. She comes to realize—as does her uncle—that there’s no one answer to life’s trials.

What are themes that teachers, librarians, and booksellers might latch onto when sharing the story with readers?

Family, friendship, and expectations all come into play in this story. There are elements of balancing family expectations and the desire to honor the past while becoming your own person. A new girl in town teaches Minna about pre-judging others. Also, the bottles play with the idea that sometimes the thing you’re searching for isn’t necessarily what you need to feel complete.

I think the book would pair nicely with a student project on traditional artisan skills or interviews with family members to delve into personal history.

Thanks so much, Jessica, for stopping by! We wish you and your new book all the very best!

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To be entered to win an ARC of Under the Bottle Bridge, publishing this September, please leave a comment below.

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