Gushing

Filed in About the Books / Comment

Last evening, I was treated to a sneak peek of Christina Wald’s illustrations for our book, A Warm Winter Tail, and I am over the moon.  She has captured the light, color, details and feel I had so hoped for.  If you visit her blog at  http://christinawald.blogspot.com/, you’ll see a couple of images. I can’t share them here yet, but as soon as I can, they will be here –poster sized!

Mentor Monday: Mindy Hardwick, Mentor for Children-at-Risk

Filed in Resources / Comment

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Mindy Hardwick connected with me through my website where she found the Mentor Monday series. She told me about her experience as a mentor and I knew right away I wanted to share it with you. Her work is a perfect example of how the idea of mentorship can be expanded — with very positive results. In addition to mentoring children at a juvenile detention facility in real life, her first novel, Stained Glass Summer, highlights mentorship as a theme. Our interview follows.


Readers can connect with Mindy on her website: www.mindyhardwick.com
Facebook: https://www.facebook.com/stainedglasssummer
Twitter: @mindyhardwick
Blog: www.mindyhardwick.wordpress.com

Please share a brief bio of you and your work.
Mindy Hardwick is a published children’s writer whose books include STAINED GLASS SUMMER and WEAVING MAGIC (Forthcoming April 2012). STAINED GLASS SUMMER is a story about artistic mentorship in glass art. In the story, twelve-year-old Jasmine adores her photographer Father and wants to be an artist just like him. But when Dad abandons the family, Jasmine is sent to spend the summer with her Uncle on a Pacific Northwest Island. Soon, Jasmine is learning stained glass from island glass artist, Opal, and thinking she might just be developing a crush on Island boy, Cole. But, it’s not until Jasmine finds herself mentoring another young artist that she can truly let go of her Father and call herself an artist by her own terms.

Mindy facilitates a poetry workshop with teens at Denney Youth Juvenile Justice Center. She is the co-editor of four anthologies, written by the youth at Denney, and the editor of their blog at www.denneypoetry.com Mindy is included on the Washington State Arts Commission Teaching Artist Roster. She holds an MFA in Writing for Children and Young Adults from Vermont College and is a member of SCBWI. When Mindy is not writing, she is a mentor to a young lady through the Volunteers of America Children of Promise Program.

Why did you decide to become a mentor?
When I began facilitating the juvenile detention poetry workshop, I’d just left teaching. I wanted a way to stay connected to kids, while at the same time, share writing with them. A good friend of mine was running a poetry workshop with Richard Gold’s Pongo Publishing program. She encouraged me to seek out the juvenile detention center closest to me and ask if they would like to have a poetry workshop.

After I’d been running the poetry workshop for a year, I began to work on a young adult novel (WEAVING MAGIC, Forthcoming April 2012) in which my main character’s parent was in prison. During my research, I found the Western Washington’s Volunteers of America Children of Promise Program in which mentors are matched with young people who have a parent incarcerated. This mentoring sounded like something I would like to do, but I didn’t know if I could make the two year commitment. I printed the application and set it on my desk. It sat there for a very long time! Finally, the time felt right and I applied. A year ago, I was matched with a young lady who was eleven. We have a great time together and I’m so glad I am a mentor!

How many writers have you officially mentored?
Lots! I’ve been running the juvenile detention poetry workshop for over five-years. Each week, I meet with two groups of kids. There are about eight to ten kids in a workshop. Some of the teens repeat back through the detention center many times. Others are only at the detention center once. You can read some of the kid’s poems and find out about the poetry workshop at www.denneypoetry.com.

What strengths do you bring as a mentor?
I am a good listener, and fun! I also set good boundaries which is important when working with kids-at risk.

Have you been a mentee? If so, what from that experience helps you be the best mentor you can be?
I have been a mentee! When I left teaching, I met a woman at an American Association for University Women meeting. She and I connected, and she became my mentor. She taught and encouraged me how to run a successful business. Laura has also been a Big Sister in the Big Sister/Big Brother Program, and she encouraged me to become a mentor myself. I often go to Laura when I need a sounding board for my relationship with my mentee.

If you could mentor any writer throughout time, who would it be and why?
Any teen. I love working with teens. Their voices are so fresh, and they are so honest in their writing.

If you could be mentored by any writer throughout time, who would it be and why?
Cynthia Voigt! I loved her stories as a teen. I loved the courage and heart-felt honestly which resonated in her characters. I read and reread Dicey’s Song and Homecoming, and I think a lot of Dicey’s character is in my STAINED GLASS SUMMER character, Jasmine.

Thank you, Mindy!

Michael Hyatt on Being a Successful Creative

Filed in Resources / Comment

I’m re-posting this great piece by Michael Hyatt who is a leadership expert. This caught my eye because sometimes we “creatives” get so caught up in creating, we forget to think about being successful. Michael shows us how to accomplish the success part, too. His website is: http://michaelhyatt.com.
 
Ways Successful Creatives Think Differently than Unsuccessful Ones

I have worked with authors for more than three decades. I have also worked with speakers, recording artists, and other creatives. I have had the privilege of working with the best—and the challenge of enduring the worst. Ninety percent fall somewhere in the middle.

What separates them is not talent. Surely, this plays a role. But it doesn’t fully explain why some creatives with marginal talent become successful and others with extraordinary talent never really make it. (I could name names, but I would get myself in trouble on both counts!)

Instead, I think the determining factor is to be found in how they think. Successful creatives think differently than unsuccessful ones. This is evident in seven ways.

  1. Successful creatives think big. The best creatives think, “Go big or go home.” If they are going to go to the trouble of writing a book, preparing a speech, or recording an album, they might as well make the biggest impact they can. They aren’t naive about the amount of work it will take, but they still dream big. They are always asking, “What could we do that would exceed everyone’s expectations?”
  2. Successful creatives take responsibility. The best creatives take responsibility for the outcome. They don’t expect someone else to make them famous or successful, though they realize they can’t succeed without others. They own their work and accept responsibility for how it is received by the market.
  3. Successful creatives listen well. The best creatives are not know-it-alls. They understand that being good at one thing (e.g., writing, speaking, or singing) doesn’t mean they are good at everything (e.g., packaging or marketing). As a result, they listen to those who have more experience. Ultimately, this raises their probability for success.
  4. Successful creatives seek help. While the best creatives accept ultimate responsibility for the outcome, they enroll everyone they can to help them succeed. They understand they can’t do it alone. As a result, they build a world-class team around them. They are constantly asking, “Who else can I enroll to help get me where I want to go.”
  5. Successful creatives work hard. The best creatives are not lazy. They don’t assume that their work is done once the book is written, the speech prepared, or the album recorded. In a real sense, their work has only just begun. They don’t display a spirit of entitlement. Instead, they roll up their sleeves and do the work that lesser creatives are unwilling to do.
  6. Successful creatives remain humble. The best creatives know that success is illusive and fragile. They know that they didn’t attain it on their own, nor will they preserve it on their own. This makes them grateful and humble. Though they face the same temptations to become arrogant, they understand the dangers and comport themselves accordingly.
  7. Successful creatives give praise. The best creatives take all the responsibility and little of the credit. They are quick to give that away to the numerous people who helped them get where they are. These creatives are especially good at praising in public and shining the spotlight on others.
The bottom line is that you have more control over your success than you may think. However, you must develop a winning mindset and cultivate the habits of successful thinking. This is what separates the best creatives from all others.

Mentor Monday: Lisa Wheeler

Filed in Resources / Comment

I crossed my fingers when I asked Lisa if she would consider being interviewed for this blog series. I know she’s talented, wise, and proficient – that’s obvious from her body of work in the children’s book industry — but I didn’t know where she stood on mentoring. Lisa has professionally critiqued three of my picture book manuscripts (one sold so far!) and I viewed her critiques as more insightful and valuable than expected. In addition to receiving a critique on a particular manuscript, I felt I had been mentored. This lead me to ask Lisa for her thoughts on the subject. You may be surprised by who she would choose as a mentor…

Visit Lisa’s website at www.lisawheelerbooks.com.  

Please share a brief bio of you and your work.
Lisa Wheeler is passionate about children’s books. “I love everything about them, including the smell.” To date, Lisa has thirty titles on library shelves, with more to follow over the next few years. She’s written picture books in prose and rhyme, an easy reader series, three books of poems, and creative nonfiction for the very young.

Awards include the 2004 Mitten Award for Old Cricket, given by the Michigan Library Association, the 2005/06 Great Lakes, Great Books Award and 2005 Missouri Building Blocks Award for Bubble Gum, Bubble Gum, the 2006 Bluebonnet Award for Seadogs , the 2006/07 South Carolina Picture Book Award for Bubble Gum, Bubble Gum and most recently, the 2008 The Theodor Seuss Geisel Award for Jazz Baby given by the American Library Association.

Her newest titles include Spinster Goose: Twisted Rhymes for Naughty Children, illustrated by Sophie Blackall (Simon & Schuster)and Dino-Basketball, illustrated by Barry Gott (CarolRhoda),

Lisa shares her Michigan home with one husband, one dog, and an assortment of anthropomorphic characters.

What value do you feel mentoring brings to a writer and the writing community?
First off, I think of mentorship as being three different levels. 

Level 1: Books. An author writes a fabulous book and when you read it, you are inspired to write one. Or the book is so well written, you want to emulate the author. Is this true mentorship? I don’t know. But there is a whole host of writers that I have learned from just by reading their excellent works.

 Level 2: Critiques. You may have a critique partner or group that has opened your eyes to not only the wrong things in your manuscript, but also the good stuff. Your critique partner has helped you become a better writer and you know that their help has been invaluable.

Level 3: Mentorship. This is a true one-on-one relationship with an accomplished writer. This person has helped you shape your writing and has also helped you maneuver through this crazy business.

 I think that all three levels are important. It is unrealistic to think that every new writer can be mentored by an accomplished author, so I encourage everyone to try for Level 1 and 2. I have learned so much from critique groups and published works. I think they are the backbone of our industry and fill in very nicely when one doesn’t have the luxury of a one-on-one mentorship.

Have you ever been officially mentored (through an SCBWI, educational, or community-based program)? If so, please describe the situation and outcome.
No, I have never been officially mentored. But back when I was starting out, I was fortunate enough to find an awesome online critique group. Author Verla Kay was in charge of all us newbies and in time, nearly every member became published. In this group I met the very talented Linda Smith (Mrs. Biddlebox, The Inside Tree, Mrs. Crump’s Cat) and she and I became not only one-on-one critique partners, but also formed a lovely friendship. Her skills were beyond mine and she encouraged me to try bigger, better things. I do think of her as a mentor.

Have you ever officially mentored a writer? (through an SCBWI, university, or community program) If so, please describe the situation and outcome.
No. I have never officially mentored anyone. But I am happy to say that I have done hundreds of critiques over the years and have been fortunate enough to see some of those manuscripts go on to publication. I have taught workshops (Picture Book Boot Camp) and am thrilled whenever I get an email from students who say they “get it” now. I have developed friendships with many of the writers I have critiqued or taught and feel an overwhelming sense of pride in their accomplishments.

What strengths would you/do you bring as a mentor?
I know picture books. I can tell when they are and aren’t working. It is much easier for me to see what is not working in someone else’s manuscripts than in my own. I try to teach writers when I critique their manuscripts so that when they revise—or write a new picture book—they will not repeat errors. My strength lies in my ability to convey How To advice concerning picture book writing in a simple, concise and clear way. I love teaching what I’ve learned along the way.

If you could mentor any writer throughout time, who would it be and why?
This one really stumps me. I can’t think of anyone. But if I did have to mentor someone throughout time, I suppose it would be some very wordy novelist because it would be fun to teach them to write tight.

If you could be mentored by any writer throughout time, who would it be and why?
After some thought, I decided it would be Jim Henson. I think he was truly a genius and brought puppets to life in a wonderful way. I would’ve loved to have learned from this master of his craft.

Thank you, Lisa!

Publisher’s Weekly Discount for SCBWI Members

Filed in Resources / Comment

Have you heard about this valuable perk from SCBWI and Publisher’s Weekly? Members can subscribe to PW for $99/year ($150 discount!). I find the weekly print magazine to be very helpful if there is room in the budget for it. Here is the info:

SCBWI has partnered with Publishers Weekly to offer a significant discount to our members. SCBWI members can get a full year’s subscription to PW for $99—that’s $150 off the non-member price!
This includes:
•51 Issues of Publishers Weekly — Both print and digital editions for your convenience. •5 FREE eNewsletters — PW Daily, plus the ONLY trade eNewsletters devoted to Children’s Books, Religion, Cookbooks, Graphic Novels, and Comics.
•Unrestricted access to premium areas of publishersweekly.com — includes news, exclusive Web-only features, and access to the largest database (over 150,000) of professional reviews anywhere.
•Blogs — The inside scoop on the industry, children’s books, and more.
•PW Select — At last self-publishers get their due in this quarterly supplement. Unprecedented coverage of all elements of self-publishing, including exclusive PW reviews of qualified titles.
•Plus — Seasonal previews of new titles, expanded bestsellers lists, international show dailies, and more.
Special Children’s Announcement Issues for $25
SCBWI members who do not want a full subscription to PW can opt to receive just the Spring 2012 and Fall 2012 special Children’s Announcement issues from PW for $25, with no additional shipping cost.
Here is the link to SCBWI to get you started:  http://www.scbwi.org/Default.aspx

Puppy Breath #3

Filed in A Writing Life / Comment

Q: What do bubble wrap bubbles, pieces of an empty toilet paper roll, and a rubber band from a teenager’s braces have in common?  
A: Items that do not digest in puppy bellies. Need I say more? 

Caution: Horn Tooting

Filed in A Writing Life / Comment

When Laura Backes, publisher of Children’s Book Insider (CBI) Newsletter, co-founder of the popular CBI Clubhouse website, former editor at several houses including Farrar, Straus and Giroux, and current freelance editor asked if I’d be interested in doing an interview for an article spotlighting CBI members with debut picture books, I calmly typed, “Sure. I think I could do that” and then screeched a little bit.  Laura professionally critiqued two of my early manuscripts (oh, how embarrassing) and I’ve always admired her style. The interview and full article in the December 2011 issue can be seen here: http://cbiclubhouse.com/.

This website and CBI Newsletter are incredible resources for people in the children’s book community and I encourage you to check them out and sign up.  Quickly.