Memory Lane

Ever since I sold my first book a million trillion years ago (okay, okay...1991), I've kept scrapbooks of book-related stuff.

I call them my Ego Books because during those times when I'm feeling insecure and inadequate, like a has-been and a loser (You know you've been there, right?), I can whip one out and thumb through it and I sometimes feel better about myself. (Saves me a ton of money on therapy.)

I read the nice letters folks wrote and see how blessed I am to have lovely, supportive friends and to have achieved some wonderful goals, I'm back in my groove.

So I recently decided to look through them.

Here are some of the highlights from the first one, which is 1991 to 2000.

This is my very first acceptance letter. It was for a biography of Maria Montessori. I remember that day so well. I was over the moon excited:

 This is a letter from David Freaking Small, y'all!! He did the cover art for my first novel, Beethoven in Paradise. I wrote him a note thanking him, and he wrote me back. I love that he told me how lucky I was to have "that great lady, Frances Foster" as my editor and FSG as my publisher.

This is my very first review of my very first novel (Beethoven in Paradise). It's a little hard to read because it was faxed to me. (Remember fax machines?) It's a Kirkus POINTERED review, which back in the day, was their version of a starred review. (Anybody remember those pointered reviews?):

This is a note from my son telling me I did a good job. Awwww. Better than a starred review!

This is a letter from Cynthia Freaking Rylant, y'all!!! We corresponded after I sent her a copy of my second book, Me and Rupert Goody:

This is Cynthia Freaking Rylant telling me that my novel "was lovely." Swoon. (I cropped out her signature cause I don't like to post that on the internet, but trust me, it's her. In fact, she signed it CYNDI RYLANT.

And this is from School Library Journal. Me and Rupert Goody was named a Best Book of 1999. I was beyond thrilled for that!

So, those were good years and I am blessed.

Writing Tip Tuesday

One of the most critical elements to master in writing children's books is PACING.


Children's books must move quickly.


Good pacing is achieved by:

• Good story structure (setup, development, climax, resolution)
• Variety (a mix of dialogue and narrative, large and small jumps in time, balance of tension with no tension)
• Good use of chapter endings and beginnings
• Eliminating unnecessary sentences, paragraphs, scenes, chapters

Chapter endings are, in my mind, one of the writers greatest tools. Use the chapter ending to create tension or suspense and to arouse curiosity (which keeps the reader reading).


Use chapter beginnings to jump forward in time, to introduce a new story element (such as a character or a situation), or to change setting.


Unnecessary scenes (or sentences or paragraphs, etc.) include repetitive or too-similar scenes.


Repeat after me:

Resist the urge to repeat yourself.

Repeat after me again:

Resist the urge to repeat yourself.

Repetition dilutes your writing and causes the author to intrude on the story by drawing attention to the writing. Repetition is self-conscious writing.


On the subject of repetition, Sol Stein says, "One plus one equals a half."


If you think the reader won't "get" something unless you repeat it, then maybe you haven't written it right the first time.


On the subject of unnecessary scenes, Kurt Vonnegut says, "Don't put anything in a story that does not reveal character or advance action."


Repetitiveness can also apply to characters. Do two characters fulfill the same purpose?


Is every character necessary? Does each character fulfill a purpose?


And one more time, repeat after me:

Resist the urge to repeat yourself.

Personal experience:

Like everyone else, I learn many of these things through personal experience. In my first novel, Beethoven in Paradise, the main character loves to walk. In the first draft, he went on a LOT of walks. It was a perfect chance for him to think - so I could throw in lots of meaty interior monologue. When all else failed in the story - Martin went for a walk.


My editor commented about that first draft (and I paraphrase here): I thought if that boy went on one more walk I'd go crazy.


I cut out about four good walks and replaced them with four good action scenes.


So, to wrap things up here, repeat after me:

Resist the urge to repeat yourself.

How David Small changed my life

In honor of David Small's National Book Award nomination, I repost how David Small made a big impact on my writing career.

Japanese and Korean editions

How to Steal a Dog (Korean edition)

Beethoven in Paradise (Japanese edition)

It's so foreign to me

I thought it might be fun to post some pics of the foreign editions of my books.

Here are some French editions. Kids often ask me why the French publishers use photographs on the covers.

My answer?

I don't know. (Heh....at least I'm honest.)

If anybody knows, please, enlighten me.

Me and Rupert Goody

Moonpie and Ivy

Fame and Glory in Freedom, Georgia (French title = The Spelling Bee)

Beethoven in Paradise

Ann Reit

I just learned the news of the death of Ann Reit, longtime editor at Scholastic.

Ann played a key role in my writing career.

I was in a critique group with Leslie Guccione, who, at the time, was writing for Scholastic. Ann was her editor.

Leslie offered to send my manuscript of Beethoven in Paradise to Ann.

Ann liked it and asked if I would be willing to work with her on revisions.

Duh!

Of course I was willing to work with her on revisions!

We fiddled around with the manuscript for about a year.

Finally, Ann called and said it just wasn't working. The book wasn't right for Scholastic. I should get an agent.

She offered to make a call to an agent for me.

On Ann's recommendation, the agent agreed to take me on.

That agent sold Beethoven in Paradise to Frances Foster at Farrar, Straus & Giroux.

That was about 13 years ago.

I still have that wonderful agent and am still publishing books with Frances at FSG.

So - I will always be grateful to Ann Reit.