Posts Tagged writing tips

Finding 40: How to Discover Critique Partners and Elevate Your Writing

By on March 10, 2023   /   Articles, Writing  

A few weeks ago my wife and I had a parent-teacher conference for our son in kindergarten. Overall it was a lovely meeting — he’s reading and writing and learning how to take care of worms. But when we got on the subject of math, the teacher’s bright expression faltered just briefly as she said, “There is one area where we’re still having some trouble.” She then explained that when our son counts, he has a habit of reaching the number 39, then jumping back to 20.

My wife and I digested this new revelation, both of us trying to remember when we’d ever asked him to count to 40 (I’m all for the functional application of kindergarten math, but I don’t think we have 40 of anything in our house). To prove her point, the teacher called to him on the other side of the room, and sure enough, he shouted back, “37…38…39…20…21…”

“There you go,” she said to us with a slight shrug. But then she did the teacher thing and helped him on the spot, talking him through the numbers until he broke through the invisible wall between 39 and 40. If she hadn’t intervened, I wonder if we might still be in that conference listening to him count.

We all get stuck sometimes, and I’m especially prone to this tendency in my writing. My plot hits a snag or I can’t get a character motivation quite right, and it’s like getting caught in a loop. I’m missing something, but since I don’t know what it is, I’m stuck repeating the same mistakes and landing in the same place I started. I need someone like my son’s kindergarten teacher to shout the numbers from across the room so I can figure out where I’ve gone wrong. For most writers, this takes the form of a critique partner or a critique group. They’re the people in our lives who listen to us count and tell us when we’ve accidentally skipped back to 20. 

But getting connected with critique partners can be a daunting task. It’s not as simple as  walking into a parent-teacher conference and knowing that the person on the other side of the desk is uniquely equipped to help you solve your problems. And what’s worse — these aren’t just meaningless numbers. They’re words…your words. Words you probably spent months or even years poring over and fine-tuning. I’ve been there. I know it’s scary. But it’s not as scary as being stuck at the number 39 and never even realizing it, so take the leap with me and consider these options to help you break out of the loop and find the number 40.

 

SCBWI Local Critique Groups

If you’re a member of SCBWI (The Society of Children’s Book Writers and Illustrators), you may not have realized that it’s one of the best places to get involved in a critique group. Start by reaching out to your local chapter, since every region does things slightly differently. There’s also the SCBWI blueboard, which can be a little challenging to navigate, but does provide a forum for getting connected with other authors. I actually found two or three long-time critique partners through the Blueboard, one of whom eventually connected me with my literary agent!

 

Facebook Groups

Even with all the other social media options out there, Facebook remains one of the best ways for writers to connect, get advice, and collaborate with fellow creators. There are even a few groups that exist almost entirely for the purpose of exchanging manuscripts and critiques. My favorite for this purpose is Kidlit411 manuscript swap but there is also Middle Grade Fictions Writers, where authors often post looking for critique swaps or beta readers. 

 

The Writer’s Match

This highly organized system developed by Megan Taraszkiewicz was created with the purpose of connecting like-minded writers. It’s completely free and could be a great way to establish some new critique partnerships that are tailored to your specific interests and needs.

 

Critique Circle

Critique Circle is one of the most equitable ways to give and receive feedback. Writers earn credits by critiquing others’ work, which can then be applied to posting work and receiving feedback. When using the system, I always found that reading the work of others was just as valuable as the credits, since giving critiques can often be just as insightful as getting them!

 

Additional Lists and Resources

I’m hardly the first author to compile this information, and there are plenty of other blogs and articles that cover the topic. A few of my favorites include Carrie Finison‘s very helpful (and much more comprehensive) list of critique resources, as well as Jane Friedman’s article on how to find the right critique group. 

 

I hope this list has helped you find some motivation to get others in front of your work. It’s been a revelation for me, and I know I’m not the only one who found a jolt of new energy and progress after summoning the courage to let someone else take a peek at that beloved but oh-so-flawed manuscript. You can do it! In fact, let’s practice together right now:

37…38…39…

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Learning To Write By Analyzing

By on February 24, 2023   /   For Writers, Writing  

I was chatting with a friend the other day about a picture book class they’re taking. My friend said they’d been instructed to type out the text of picture books they loved word for word. At first, they hadn’t thought much of the exercise, but they ended up very surprised at how effect it was. The act of writing out great picture book texts put that structure in their brain. While it would be hard to do use this technique for middle-grade novels, I realized that I have successfully used the same type of analyzing for my chapter books and middle-grade graphic novels.

Cover of Legends of Lotus Island written by Christina SoontornvatJumping into writing new types of books can be daunting. Children’s books aren’t like writing for adults. As well as genre, we have to consider the ages of our readers, their voice, language, vocabulary and more. And some book categories have specific things that traditional publishers are looking for. Early readers and chapters books are nearly always series, so the story has to be designed to continue in future stand-alone books. In middle-grade, there are younger middle-grade novels that are thinner, much like the AMERICAN HORSE TALES series, of which my HOLLYWOOD is one, and Christina Soontornvat’s new LEGENDS OF LOTUS ISLAND series. But there are also the longer, more complex middle-grade novels too. Analyzing what publishers are publishing, and readers are reading, can help us craft our best stories.

I used this technique a lot when I first started working on chapter books. I had the opportunity to audition for a new unicorn chapter book series. Since I hadn’t written a chapter book at that time (only middle-grade and young adult), I decided to do my homework. I sat in my local bookstore and read chapter book after chapter book. I borrowed a heap of chapter books from the library. Plus I bought a few that I knew I’d refer to again and again. But I didn’t just read them. I took my analysis a step further.

I made a spreadsheet with some of my favorite chapter books, including ones the publisher had suggested as comps. Then I noted things like: the number of chapters, number of words in the books, number of illustrations, on which pages they came, number of characters, number of settings, etc. I outlined the stories too, comparing them to the outlines I did for my middle-grade novels. And I even typed out the opening pages word for word to get a good idea of the voice, pacing and tone. I did this for multiple books in different genres, by different authors. This gave me a good sense of the category as a whole.

Cover of Gemstone Dragons: Topaz's Spooky Night written by Samantha M ClarkI didn’t get that job, but the next time I had the opportunity to audition for a chapter book series, I used that knowledge and analyzing technique again. This time, I won the contract, and I now have four books out in my GEMSTONE DRAGONS series.

I’m about to go out on submission to editors with a graphic novel manuscript, and I used the same analyzing technique when I was writing that too. I read a bunch of graphic novels, noted their page counts, and even wrote out their scripts in the form of:

Page 1 (5 panels)

Panel 1: MC does X

Panel 2…

Through this analysis, I could find the patterns and structures that are unique to graphic novels scripts. That made it a lot easier for me to create my own book, and so far, my agent loves it. (Fingers crossed it’ll have the same reception when it goes to editors.)

You’ve no doubt heard that reading is one of the best ways to learn how to write. I challenge you to take that one step further. You don’t have to type out an entire middle-grade novel, but consider ways that you can do more analyzing of those stories. Type out the first few pages or chapter. Note page counts and chapter numbers. See how your favorite authors start their stories and end them. Observe when they end a chapter. You can even catalog characters, their arcs and how their arcs intertwine.

Learning how to write by analyzing the stories you and millions of other readers already love will give you a key to unlock the tools those authors are using, so you can use them yourself.

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STEM Tuesday– Genetics– Writing Tips & Resources

By on February 21, 2023   /   Genetics, STEM Tuesday  

CAT TAG

It’s February. The month of love. The perfect month to declare my love of genetics to the STEM Tuesday world in the passionate execution of my Week 3 Writing Craft & Resources post. I love genetics!

It is more than mere fate or blind luck that the STEM Tuesday schedule and my posting schedule aligned for February 2023. The STEM nonfiction universe knows.

Genetics + Me = #ForLife.

But what does all that have to do with a Writing Craft & Resources post? Bear with me, please, through my soliloquy on genetics.

Genetics had me at my first Punnett square. Just like Mendel and his pea plants or Barbara McClintock and her corn chromosomes, genetics had me hooked from the get-go. The idea that life has a blueprint and we have the ability to study and define it captured the teenage me as much as sports had. As a son of a civil engineer who designed and built bridges and highways, plus, as someone just getting into computer programming on my Texas Instruments TI-99, I was hooked on the coded blueprint of life for life.

Then deoxyribonucleic acid came along. The fundamental code of life. Adenine (A), cytosine (C), guanine (G), and thymine (T). Four chemical bases attach to a sugar-phosphate backbone to form a nucleotide. Four bases that pair with one another (A-T and C-G) in a particular order to form a double-helix strand of DNA and the chromosome. Just about everything we see in the living world is built from the order of those four bases. A, T, C, and G, coded in the chromosome blueprint. 

The genetic information coded in our DNA is transcribed into a specific protein in the central dogma of genetics, DNA→RNA→Protein. The triplet code is the key to the central dogma during the transcription of the DNA code. The cell’s machinery reads the code three nucleotide bases at a time and makes RNA copies of them which, in turn, code for one of 20 amino acids used to construct a protein. 

Humans have about 38 trillion cells in the body and each of those cells contains the code for ~20,000 genes within its chromosomes. The total length of the DNA in one cell is six feet. That’s a lot of DNA needing to be intricately folded to fit inside the cell’s nucleus! Each cell transcribes the proper genes at the proper time to make the proper proteins it needs to function. The cell must keep the genetic code organized while maintaining its integrity and repairing any damage to the code. Add to that, the need to faithfully replicates itself for future progeny cells so mistakes in the code, called mutations, don’t get passed to the next generation of cells. 

This molecular dance of life. with its high level of fidelity. never ceases to blow my mind.

I’ve made a career chasing DNA. I’ve cloned it and I’ve sequenced it. I’ve digested, purified, manipulated, mutated, labeled, edited, and analyzed it. Everything I’ve done in three decades of science revolves around A, T, C, and G. And even after all this time, there is still so much that I don’t know about genetics and DNA and the molecular dance of life, which brings me back to writing. 

Everybody knows writing is work. It’s hard work but, similar to genetics, it is also work that has me hooked. Also like genetics, there’s is still so much I need to learn about writing, even after decades of writing. Just as there are the tools of genetics, writers have tools. Letters, words, structure, and grammar are the nucleotide bases (A/T/C/G), genes, chromosomes, and triplet code of genetics. 

Word→Sentence→Paragraph is the writer’s central dogma. Finding the right words to describe our ideas and transcribing them in legible form is what we attempt to do as writers. 

When I teach what we do in our lab or speak to students about genetics and genetic mutations, I use a little paper demonstration called CAT TAG. It’s based on transcription using the triplet code defined above. I use it to describe how important it is to preserve the correct sequence and fidelity of the triplet code when we are cloning or mutating a gene for further analysis.

Here’s the imaginary DNA code sequence I use for the CAT TAG gene demonstration:

ATG CAT TAG CAT TAG CAT TAG CAT TAG

If we start transcribing at the “ATG” start codon signal, we get frolicking felines playing an adorable game of CAT TAG protein.

CAT TAG CAT TAG CAT TAG CAT TAG

What happens when we inadvertently insert a base in the gene?

ATG tCAT TAG CAT TAG CAT TAG CAT TAG

We get nonsense and no more frolicking feline protein. Where did my adorable cats go!!!

tCA TTA GCA TTA GCA TTA GCA TTA G

The same thing happens when we delete a base in the gene. Nonsense and no cats!

ATG AT TAG CAT TAG CAT TAG CAT TAG

ATT AGC ATT AGC ATT AGC ATT AG

Even more frightful, what if a whole CAT codon gets deleted?

ATG TAG CAT TAG CAT TAG CAT TAG

Argghh!!!!! Ouch!!! Now I’m tagging the cat and the cat does not appreciate it! Ouch!

TAG CAT TAG CAT TAG CAT TAG

Writing is like the CAT TAG gene game. Finding the right order and sequence of words to express ideas is the ultimate goal. The skill and magic of revision lie not only in the order and sequence but in finding the best words to express the idea. No more or no less. Make sure additions or subtractions fit properly.

The goal is to find the adorable cats playing tag version of your writing without creating confusion, nonsense, or attacking felines. 

Mike Hays has worked hard from a young age to be a well-rounded individual. A well-rounded, equal-opportunity sports enthusiast, that is. If they keep a score, he’ll either watch it, play it, or coach it. A molecular microbiologist by day, middle-grade author, sports coach, and general good citizen by night, he blogs about sports/training-related topics at  www.coachhays.com and writer stuff at  www.mikehaysbooks.com. Two of his science essays, The Science of Jurassic Park and Zombie Microbiology 101, are included in the Putting the Science in Fiction collection from Writer’s Digest Books. He can be found roaming around the Twitter-sphere under the guise of @coachhays64 and on Instagram at @mikehays64.

The O.O.L.F Files

This month’s version of the O.O.L.F.(Out of Left Field) Files explores revision tips, genetics history with two of the faces on the Mount Rushmore of genetics, a lesson in genetic expression, and CRISPR gene editing at home. 

Kirsten W. Larson’s Revision Tip: Unwriting Your Draft blog post

Barbara McClintock

Gregor Mendel

The fabulous Punnett square

University of Nebraska-Lincoln Plant & Soil Science Learning Module

CRISPR at Home

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