Writing In No Time: Where does writing fit in your life? #amwriting #writing #writinglife #writerslife

At a recent SCBWI meeting, people mentioned one of the big challenges is finding the time to write, even when it's what you want to do most. That inspired me to reprint this article (originally from Children’s Writer).

Writing In No Time

So many things demand our time – job, spouse, children, volunteer work, housework. It’s tempting to say, “I’ll write during vacation, or when the kids are back in school, or when the kids leave home, or when I retire ….”

Yet if you want to be a writer, you must find time to write.

Becoming a writer requires commitment. If you don’t take your work seriously, your family and friends certainly won’t either. Let them know how important writing is to you. Insist that writing time is your time, and you must not be disturbed. Carve out a few hours each week. Then close the door and ignore your phone and e-mail, or take your laptop to the library.

Finding even a few hours may seem hopeless when you have young children. Louise Spiegler, author of The Amethyst Road and The Jewel and the Key, said at that time, “It is impossible for me to write with my kids awake and active. I either tried to get both kids to nap at the same time or I spent my non-existent savings on two hours of babysitting.”

Try trading babysitting with other writing parents. Or start a play group/writers group: the kids play, the parents write or critique.

Molly Blaisdell, author of Rembrandt and the Boy Who Drew Dogs and dozens of other books and mother of four, found another creative way to keep her kids busy when they were little. “I kept all the special toys in my office. When I wanted to work on a scene, I’d pull down that box and say, ‘This is quiet time for special toys.’ It would always be good for about half an hour and sometime would go for two hours.”

Involve older children in your writing activities. Brainstorm story ideas together. Have them draw pictures for your manuscripts. You’ll get more done, and they’ll learn to respect your work. Plus, your time together is research. Claudia Harrington liked driving the carpool for her daughter in middle school, because “the ride home is great for eavesdropping.”

No Use for a Muse

When your writing time is limited, you can’t afford to waste a moment. After having a baby, freelance writer Michele Corriel, author of Fairview Felines: A Newspaper Mystery, said, “I still managed to get up before my daughter and cram in even half an hour. The problem with a shorter amount of time is you really have to ‘switch’ it on.”

Successful writers agree: no waiting for the right mood. Spiegler says, “As soon as the kids were asleep or safely dropped off, I would sit down and start working – no waiting for inspiration.”

The most productive writers work anywhere and everywhere. Jean Daigenau said, “I take advantage of the few minutes of downtime I have at school or home – while I’m eating lunch or supervising the homework group at our after-school latchkey program or soaking in the bathtub.”

If you can’t do serious writing in five-minute bursts, use the time in other ways. Daigenau suggests, “Get it written on the computer and then use those few minutes here and there to revise.”

Christine Liu Perkins, author of At Home in Her Tomb: Lady Dai and the Ancient Chinese Treasures of Mawangdui, commented, “When I’m constantly being interrupted, chauffeuring, or sitting in waiting rooms, I brainstorm and prewrite. Wherever I am, I focus on a specific problem for that short session. What points do I want to include in this article? What happens next in the story?”

Compromise

The best organized life can sometimes just get too full. Spiegler, who also teaches college now, cautioned against buying into the super-woman myth. “It is almost impossible for me to work at a demanding job and take care of kids and write regularly. The only way I can write is to be teaching something familiar that I can spend less prep time on.”

You can’t do it all, so decide what’s most important. Then look for areas to cut back. Reduce your work hours, or cut commute time with a job closer to home. Commute by bus and write as you ride. Arrange car pools or play dates for your kids. Dictate into a tape recorder as you walk for exercise. Let the housework slide, and make quick meals. Cut back on email, web surfing or TV.

Put your family to work as well. Train your kids to do housework and cook one dinner per week – they’ll learn important skills while you get free time!

Don’t let volunteer work take over your life either. Blaisdell, who writes YA romantic comedies as Cece Barlow, commented, “When my volunteer schedule [as regional advisor for SCBWI] burgeoned to 80-hour weeks before conferences, it occurred to me that I could be doing a lot more writing. Yes, I made contacts as a volunteer. I learned stuff from the best writing teachers in the world. Volunteering was a part of paying my dues, but not my lifelong occupation. My time was best spent writing.”

When a real crisis intrudes – sick kids, ailing parents, a job change or divorce – you may need to take time off from writing. Just don’t let it drag on forever. Plan how you’ll handle the crisis, and schedule a time to return to writing. In the meantime, read writing magazines or books for a few minutes each week to keep your focus. Spending even five minutes a day thinking about your writing can make it easier to transition back into writing more, without feeling like you’re starting from scratch.

How about your time? Where does writing fit in your life?

Decide, and make a commitment to your work. Then repeat this mantra: I am a writer, and writers write. And if physical discomfort is interfering with your writing, be sure to see the recent posts on "Writer and Reader Comfort" in the ergonomics category.

Chris’s writing craft books include You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers, and Advanced Plotting. Learn more at www.chriseboch.com or her Amazon page, or check out her writing tips at her Write Like a Pro! blog.

Chris Eboch writes fiction and nonfiction for all ages, with 100+ published books for children. Her novels for ages nine and up include The Genie’s Gift, a middle eastern fantasy; The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure; and the Haunted series, which starts with The Ghost on the Stairs, plus many nonfiction and educational titles.

As Kris Bock, she writes novels of mystery, suspense, and romance. In the Accidental Detective series, a witty journalist solves mysteries in Arizona and tackles the challenges of turning fifty. Kris’s Furrever Friends Sweet Romance series features the employees and customers at a cat café. In the Accidental Billionaire Cowboys series, a Texas ranching family wins a fortune in the lottery, which causes as many problems as it solves. Sign up for the Kris Bock Mystery and Romance newsletter and get a free Accidental Detective short story and bonus material, a free 30-page sweet romance set in the world of the Furrever Friends cat café, and a printable copy of the recipes mentioned in the cat café novels.

Kris also writes a series with her brother, scriptwriter Douglas J Eboch, who wrote the original screenplay for the movie Sweet Home Alabama. The Felony Melanie series follows the crazy antics of Melanie, Jake, and their friends a decade before the events of the movie. Sign up for the romantic comedy newsletter to get a short story preview, or find the books at Amazon US or All E-book retailers.

Writing Nonfiction for Children: Magazine Market Research

Last week I discussed Why You Should Write Magazine Nonfiction. This week let's explore magazine market research. The following is excerpted and adapted from You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers.

A lot of people are intimidated by nonfiction but then find writing articles fun and interesting once they try a few. As a bonus, it can be easier to sell nonfiction because there’s more demand for nonfiction articles, but fewer people write them. Most children’s magazines use some nonfiction but not get many submissions. For example, Highlights publishes about equal amounts of fiction and nonfiction, but I’ve heard the magazine receives about 90% fiction submissions. And then there are many magazines focused on topics such as science and history, which only publish nonfiction.

Plus, if you are fairly new to modern children’s lit, studying magazines is a way to learn more about writing for different ages. The Cricket Magazine Group is a great place to start. They publish 14 magazines. Some are fiction and some are nonfiction, and they cover age ranges from birth to teen. You can read an online sample of each magazine on their website.

You may have a good idea of what you want to write; for example, maybe you are primarily interested in fiction for ages 4-6. But give the other magazines a look anyway. You may have a great idea that would be better for a different age range.

Magazines Everywhere

With some digging, you can find hundreds of other magazines targeted at children, or at parents or teachers. Magazine Markets for Children’s Writers and Children’s Writers and Illustrators Market have listings. (You can see if your local library has a copy, though it's nice to have your own copy so you can add notes.)

A search for “children’s magazines” will also bring up lots of links. Many are sites selling magazines, but they give you an overview of what’s being published. If you are interested in writing about a particular sport or hobby, you might find a children’s magazine that addresses it. Most religious groups also have their own magazines for children.

Learn from Reading

Once you identify a couple of magazines that interest you, check out their writer’s guidelines. An internet search for the magazine’s name plus “writer’s guidelines” or “submission guidelines” usually does the trick. It’s important to study those guidelines, and also actual copies of the magazine, before you submit work.

Even magazines that seem similar can be quite different in their requirements. For example, some religious magazines focus on Bible stories, while others want modern true anecdotes. In some, the message can be subtle and God need not be mentioned, while in others, the focus should be on God providing guidance.

You might also get ideas for how best to craft an article or story that will appeal to that magazine’s editor. Studying National Geographic Kids several years ago, I noticed that most articles were broken into short bites of information, such as “10 Cool Things about Dolphins.” If I wanted to pitch an article to them, I’d try to do something similar.

Study the magazines and submission guidelines, making a note of the type of content and target audience. Here are some questions to ask:

·                     What is the target age level?

·                     Do they use both fiction and nonfiction? If so, what is the rough percentage of each?

·                     What is their maximum word count? Do most of the stories/articles seem to be at the longer end of the range or at the shorter end?

·                     Are they open to submissions? What do they want (e.g., a query letter, a proposal, the complete manuscript, a writing sample)?

·                     Do they list any topics or genres they don’t want? (e.g., no articles about insects) Note that some magazines may use their own staff for certain items. For example, they may publish puzzles, but do them all “in house” so they don’t take submissions of puzzles.

Explore the Magazine Markets:

Children’s Writers and Illustrator’s Market: http://www.writersdigestshop.com/2014-childrens-writers-illustrators-market-group

The SCBWI “Magazine Market Guide” is in The Book, included with membership: https://www.scbwi.org/online-resources/the-book/

Get magazine samples at your library, school, or house of worship; requests sample copies from the publisher; or visit publishers’ web sites to see if they have online samples.

A list of children’s magazines with links to their websites: http://www.monroe.lib.in.us/childrens/kidsmags.html

Stop by next Wednesday for more advice on analyzing the magazine market – or subscribe to get posts automatically and never miss a post. You can use the Subscribe or Follow by E-Mail buttons to the right, or add http://chriseboch.blogspot.com/ to Feedly or another reader.

You can get the extended version of this essay, and a lot more, in You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. Order for Kindle, in paperback, or in Large Print paperback.

Sign up for Chris’s Workshop Newsletter for classes and critique offers

Why You Should Write Magazine Nonfiction

The following is excerpted and adapted from You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers.

Beginning writers often focus on trying to publish picture books or novels. However, many career writers – those who make their living from writing – do at least some nonfiction work for magazines. For example, in the tax year before this writing, I sold over a dozen articles, earning over $3000. That's more than I made from novel advances and royalties combined.

Nancy I. Sanders, author of Yes! You Can Learn How to Write Children’s Books, Get Them Published, and Build a Successful Writing Career, describes the advantages of magazine writing. “There’s an unending opportunity to get published and build your writing credentials, especially in the smaller magazines. There are countless topics to write about for each different magazine’s focus, so it’s easy to find one that matches your personal passion. And finally, there are a significant number of magazines that pay and pay well.”

Author, instructor, and free-lance editor Bobi Martin says, “If I come across a topic that intrigues me, I study Magazine Markets for Children’s Writers to find magazines that my idea might be a good fit with. Next, I check to see if the age range and word limits of the magazines I’ve targeted fit with what I had in mind for the article. When I don’t have a topic in mind, I study the listings to see what magazine editors are looking for. When I have two or three magazines in mind, I visit their websites for their most current information. This is a great way to generate new topics to write about!”

Follow the Guidelines

Checking writer’s guidelines is important, because magazines often have strict rules for article lengths and the topics they cover. Some even use theme lists, with each issue covering a specific topic, such as a particular aspect of history or science.

Marcia E. Lusted is an Assistant Editor and Staff Writer for e-Pals Publishing, working with the Cobblestone group of children’s nonfiction magazines. “My advice would be to really pay attention to what magazines’ needs are, particularly if they are themed,” she says. “We get so many good queries that just don’t fit any of our upcoming themes and we can tell that the writer hasn’t bothered to notice that we are themed! The marketing aspect of writing – figuring out what a magazine needs and matching ideas – take time and effort.”

One advantage to writing magazine nonfiction is that you can sometimes pitch an idea instead of submitting a completed article. Even if a magazine only accepts finished articles, you can suggest other ideas in your query letter.

“When you submit a manuscript or query a magazine with your idea, it also helps to add a list of three to five ideas that might fit well into their particular magazine if your main topic doesn’t fit their current needs,” Nancy Sanders says. “I’ve landed more magazine writing assignments over the years by including a short list of other ideas in my query or cover letter for the editor to consider. Giving them the chance to choose another topic if they find merit in your writing helps avoid the constant stream of ambiguous rejections from editors saying, ‘Doesn’t suit our current needs.’”

Stop by next Wednesday for advice on researching the magazine market – or subscribe to get posts automatically and never miss a post. You can use the Subscribe or Follow by E-Mail buttons to the right, or add http://chriseboch.blogspot.com/ to Feedly or another reader.

You can get the extended version of this essay, and a lot more, in You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. Order for Kindle, in paperback, or in Large Print paperback.

Sign up for Chris’s Workshop Newsletter for classes and critique offers

Writing and Running: 6 Lessons Learned from Jogging

In honor of the upcoming National Women's Health & Fitness Day, I wanted to share some lessons I learned from running.

In March of 2011 I started jogging. Despite the occasional illness, injury, and ‘I don’t wanna,’ I’m still getting out regularly. On one long and rather tedious solo run, I started making connections between jogging and writing and life.

Get Some Running Buddies

It helps to have inspiration. I started jogging with a Couch to 5K group that met twice a week. Having the regular schedule kept us on track. The program helped us pace ourselves, starting with short runs and frequent walks, and working up to a 45 minute run. We also had an experienced leader to offer advice.

Several of us continued running together after the program ended. I wouldn’t get out there as often if people weren’t waiting for me. I’d be tempted to stop early, if I didn’t have the encouragement of the group. Hey, peer pressure is powerful! You might as well make it work for you. Plus, it’s more fun to run with other people.

A writing retreat is a great place
 to get feedback – and exercise!

For writers, it’s important to find the right peer group for your needs. For many, this is a critique group. They may be large or small, meet in person or online, have open or closed membership, get together weekly or monthly or as needed. Finding a group that suits your needs is invaluable.

Other writers share goals and deadlines, checking in with a friend daily or weekly to report progress. There’s that peer pressure again! Even a non-writing friend can help hold you accountable.

Finally, social groups can provide camaraderie and networking. I live in a small town with a science and engineering college; I know far more computer geeks than writers. But by making monthly trips to Albuquerque to attend a writing meeting, I’ve made many friends who understand what I do. I’ve also made connections by teaching workshops and guest speaking for groups like Sisters in Crime. For those who can’t attend in person, online discussion boards or listserves offer a sense of connection.

New scenery can be inspiring.

It’s Distance, Not Speed

It really is about the journey, not how fast you get there. Pace yourself, and enjoy the journey, or you might burn out along the way. If you can see the end, or at least imagine the cheering crowds and free food, it might give you the extra boost you need to keep going. But take time to enjoy the sights, and the experience will be a lot more fun.

As a writer, don’t focus so much on the response to your query letters. Sure, celebrate successes, and try to learn from disappointments, but put most of your energy into enjoying the journey. (That works for the rest of life, too.)

Robin LaFevers had a post at Writer Unboxed about keeping creative play in your writing.

It's okay to rest – but not for too long.

But Keep Moving

A slow pace may get you there, but if you have a long way to go, you might as well do it running. A marathon will take a lot longer at a stroll than at a jog, even a slow jog. Run when you can, walk when you need a rest, but keep moving. That’s the only way to reach the end.

Take the time you need to learn and practice your writing craft. Do as many drafts as you need to polish your novel. Don’t rush, but do keep working. Write a page a day, and you’ll have a complete draft in a year. It may not be perfect, but it will be more than what you started with.

Practice Makes Perfect, or At Least Lessens the Pain

If you’re training, you need to get out regularly. Running once a month will just leave you sore and frustrated each time, and you won’t see any progress in your fitness.

It’s the same with writing. Establishing habits and sticking to them will keep your mind fit. Writing several times a week will hone your skills and make it easier to get started next time.

Beware of Shortcuts

If I map out a 5K run, but take every shortcut, that could cut the distance down to 3 1/2K. Easier, sure, but that won’t prepare me for running a 10K. It’s the same with life. Whether you’re trying to switch careers, meet the right man or woman, or finish a novel, some shortcuts may help, but others may do more harm than good.

I work with a lot of writing students. The beginners want to know if they’ll get published after taking one course. Nobody wants to spend 10 years learning how to write, but you need to do the work in order to earn the reward at the end. If you beg your friend to send your rough draft to her editor, you’ll blow your chance to make the best use of that connection. If you self publish your work before it’s ready, you’ll waste time that could be better spent working on your craft.

Sometimes the long, hard path is the only one that gets you where you want to go.

Set your goals high and work hard to reach them!

Push Yourself Sometimes

With enough practice, you should get better. When I started jogging, it was a struggle to go for 10 minutes without a break. Six months later, I could make it through 45 minutes without stopping.

And then I plateaued. Jogging had become comfortable, if not easy. Why cause more pain by trying to go farther or faster?

Because that’s the only way to get better. And most likely, it’s the only way to stay interested. Fortunately, one of my jogging partners is great about coming up with new workouts. We add in some sprints one day, do hills another day. We choose different routes on different terrains. Variety keeps it interesting, which makes it easier to work hard.

With my writing, I find that I get bored if I become too comfortable with something. After publishing a dozen children’s books as Chris Eboch, I wanted a change. I tried writing romantic suspense for adults, using the name Kris Bock. This brought new challenges – writing books two or three times as long as what I was used to, exploring romantic subplots, delving deeper into character. I didn’t always get things right the first time, but I became a better writer – and I renewed my interest in writing.

(Janice Hardy blogged about “growing pains” novels, the books we must struggle through in order to grow as writers.)

Are you a writer who runs? Join us for the Writers Who Run retreat August 3-7, 2016, in Fontana Dam, North Carolina.

Kris Bock writes novels of suspense and romance involving outdoor adventures and Southwestern landscapes. Read excerpts at www.krisbock.com or visit her Amazon page.

Chris Eboch writes fiction and nonfiction for all ages, with 30+ traditionally published books for children. Her book Advanced Plotting helps writers fine-tune their plots, while You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers offers great insight to beginning and intermediate writers. Learn more at www.chriseboch.com or her Amazon page.

Get Critique Feedback from a Pro

Expert writers often share advice

I’ve released a new book on the craft of writing, called You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers. To celebrate the release, I’m sharing a excerpt from the chapter on Critiques. So far I've shared the intro to the chapter and advice on getting feedback from family and friends; discussed some basics about critique groups; shared challenges to watch out for in a critique group, and listed specific character types to watch out for in your critique group, and taking classes to improve your writing. Now let's look at one final option, hiring a professional editor or critiquer.

Hiring a Pro

It’s tempting to stick with trading manuscripts for free, and you may get some excellent feedback that way. However, getting feedback from family, friends, and even other writers might not be enough to perfect your work. Many critique partners won’t want to read your manuscript through multiple revisions. And unless they are experienced writers and writing teachers, critique partners may miss issues a professional editor would catch.

Hiring a pro may provide better advice. You might ask a friend to help you bandage a scraped knee, but if you have a bone sticking out of your leg, you’re going to the hospital. When the situation is serious, professional experience counts, so if you are serious about your writing, consider using a professional editor.

Professional developmental editors can help writers shape their manuscripts. They can help beginning or intermediate writers identify weak spots in their skill sets, acting as a one-on-one tutor. They provide expertise that family and friends, and even critique partners, often lack. A professional editor will prioritize your work because it’s a job.

Some of my critique clients have mentioned that they’ve taken a manuscript through a critique group, but they know it still needs work. They’ve gone as far as they can with critique group help, so they’re turning to a paid critique. If someone is paying me several hundred dollars to critique a novel, I’m going to devote my time to getting it done well and quickly. I’ll dig deep and be as tough – but helpful – as I can be. My novel critique letters typically run five or six single-spaced pages, with comments broken down into categories such as Characters, Setting, Plot (Beginning, Middle, and End), Theme, and Style. Most critique group members don’t have that kind of time, even if they have the skills to identify the problems.

If you aren’t sure if you need professional help, do a trial run with a manuscript you’ve finished. Send out a half dozen queries to agents or editors and see what kind of response you get. I’ve had clients come to me because editors have turned down a manuscript they “didn’t love enough.” This is a good indicator that the idea may be strong, but the writing isn’t there yet. No hired editor can guarantee that your manuscript will ever sell, but a good editor can improve the manuscript and also teach you to be a better writer.

If you are writing purely for your own enjoyment, or to share your work with family and friends, you don’t need to worry about producing something of publishable quality. But if you are writing for publication, and agents or editors don’t seem impressed with your work, a professional critique can teach you a lot.

Preparing for the Edit

Even if you decide to hire a freelancer, you’ll get more from the experience by turning in a draft you’ve already edited. According to freelance editor Linda Lane, “Carefully preparing your manuscript for an editor rather than simply forwarding the latest draft saves dollars, because freelance editors often charge an hourly rate.” (Use the tips in Chapter 14: Editing in You Can Write for Children to revise your manuscript as much as you can on your own.) If you have critique partners, revise based on their feedback as well.

I'm an expert!

Then start looking for a professional editor. However, if you want a professional critique on the content of your book – the plot, characters, overall writing style, and so forth – don’t wait until you think you have a completely polished draft. If it turns out you have major problems with the plot or character development, it’s better to identify those before you’ve gone through 10 drafts and have proofread the whole thing.

Ask other writers for recommendations to editors. Try the SCBWI online discussion boards or local writers’ groups. Make sure the editor has experience with the kind of writing you are doing. Someone who only writes for adults is probably not the best editor for your children’s picture book.

Communicate clearly with a prospective editor to make sure you know what you’re getting. Typically content or developmental editors look at the big picture items. Copy editors and proofreaders can catch inconsistencies and spelling or grammar errors. Start by working with someone who will focus on content, structure, and stylistic weaknesses. Don’t pay someone to fix your typos when you might still have major changes to make. Ask questions or ask for a sample to make sure you are hiring the right editor for your needs.

Professional Editors

This list provides past and present instructors from the Institute of Children’s Literature who critique for a fee.

Learn about my critique services here.

You can get this whole essay, and a lot more – including a chapter on Advanced Critique Questions – in You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers.

Remember the magic of bedtime stories? When you write for children, you have the most appreciative audience in the world. But to reach that audience, you need to write fresh, dynamic stories, whether you’re writing rhymed picture books, middle grade mysteries, edgy teen novels, nonfiction, or something else.

Order for Kindle, in paperback, or in Large Print paperback.

Sign up for Chris’s Workshop Newsletter for classes and critique offers.

Get Writing Feedback by Taking Classes

I’ve released a new book on the craft of writing, called You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers. To celebrate the release, I’m sharing a excerpt from the chapter on Critiques. So far I've shared the intro to the chapter and advice on getting feedback from family and friends; discussed some basics about critique groups; shared challenges to watch out for in a critique group, and listed specific character types to watch out for in your critique group. Here's a new option – taking classes to improve your writing.

Taking Classes

Do a little searching, and chances are you’ll find many options for writing classes to suit every need. Often community colleges offer classes. So do some senior centers or community centers. Writing organizations often have meetings that may include short workshops. They may also sponsor classes or conferences. The Society of Children’s Book Writers and Illustrators is an international organization with regional branches around the world. See if they have meetings in your area.

You might find paid classes, free meetings, or social events through other local groups, such as Sisters in Crime, Romance Writers of America, or Science Fiction & Fantasy Writers of America. While these groups don’t focus on writing for children, you could learn valuable writing techniques. There are also local or regional groups, such as SouthWest Writers, based in Albuquerque, New Mexico. The Writing Barn in Austin, Texas, has picture book classes and other writing events, some paid and some free.

An online webinar

If you can’t find a local class at a convenient time and place, you still have options. Several organizations and individuals offer classes online or through the mail. Two well-known organizations focusing on writing for kids are The Institute of Children’s Literature and Children’s Book Insider.

You’ll find a lot of variety in costs, course material, and how much feedback is provided. Shop around to find the class that works best for you. Do you want to learn the business side of publishing or focus on craft techniques? Do you want lectures with no homework? Do you want specific feedback from an expert teacher on your own work? Make sure that is included.

As an example, Gotham Writers Workshop offers a ten-week children’s book writing class for $400 (as of this writing). This fee covers lectures, writing exercises, and two opportunities for critiques. The Picture Book Academy offers a five-week course focused on picture books for $379. It includes access to a critique group and help through conference calls; a personal critique with a teacher is an extra $100. The Online Writing Workshops by author Anastasia Suen cost $299 and involves 12 lessons, with several critiques. She has workshops that focus on children’s novels, picture book biographies, nonfiction picture books, and rhyming picture books.

These are only a few of the many options. They are listed as examples or what’s available; I’m not offering a personal recommendation. Many experienced authors give workshops in person or online, so check out local events or browse online offerings. You can sign up for my mailing list to learn about any upcoming webinars:

Retreats build connections

You’ll also find some wonderful writing retreats available, some for a weekend and some for a week or more. Many are put on by SCBWI, in lovely locations around the world. The Highlights Foundation has regular retreats in Honesdale, Pennsylvania, on a variety of subjects related to writing for children. They are highly praised for the content, the setting, and the food. While the retreats are expensive, Highlights gives many scholarships.

Some retreats may have a particular focus. For example, Picture Book Boot Camp in western Massachusetts, run by authors Jane Yolen and Heidi Stemple, is a master class for picture book authors. Other retreats cover all genres or simply allow writers time to work on their own projects.

One bonus to taking a class or attending a retreat is that you may meet other writers, who could become your critique partners after the class ends. This is easier with a live class, but even an online class may offer a chance for students to chat and connect.

Have you tried any classes in writing for children? What works well for you – a live class, online tutorial, etc.?

You can get this whole essay, and a lot more – including a chapter on Advanced Critique Questions – in You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. In this book, you will learn:

How to explore the wide variety of age ranges, genres, and styles in writing stories, articles and books for young people.

How to find ideas.

How to develop an idea into a story, article, or book.

The basics of character development, plot, setting, and theme.

How to use point of view, dialogue, and thoughts.

How to edit your work and get critiques.

Where to learn more on various subjects.

Order for Kindle, in paperback, or in Large Print paperback.

Sign up for Chris’s Workshop Newsletter for classes and critique offers.

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The Mad Monk’s Treasure e-book is also on sale for $.99! 

Reviewers give it a 4.4 star average: “Great balance of history, romance, and adventure. Smart romance with an "Indiana Jones" feel. Well-written with an attention to detail that allowed me to picture exactly in my head how a scene looked and played out.” - Jules R.

A heretic Spanish priest’s gold mine, made richer by the spoils of bandits and an Apache raider—the lost Victorio Peak treasure is the stuff of legends.

When Erin, a quiet history professor, uncovers a clue that may pinpoint the lost treasure cave, she prepares for adventure. But when a hit and run driver nearly kills her, she realizes she’s not the only one after the treasure. And is Drew, the handsome helicopter pilot who found her bleeding in a ditch, really a hero, or one of the enemy? Just how far will Erin go to find the treasure and discover what she’s really made of?

“The story has it all - action, romance, danger, intrigue, lost treasure, not to mention a sizzling relationship....”

Get it now from Amazon, Barnes & Noble, All Romance E-Books, Kobo, or Apple/iTunes:

Webpage sample

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Critique Group Challenges

A good critique partner? Hmm.

I’ve released a new book on the craft of writing, called You Can Write for Children: How to Write Great Stories, Articles, and Books for Kids and Teenagers. To celebrate the release, I’m sharing a excerpt from the chapter on Critiques. First I shared the intro to the chapter and advice on getting feedback from family and friends. Last week I discussed some basics about critique groups. Today I'm sharing some challenges to watch out for in your critique group.

Critique Group Challenges

Critique groups can be great. A good one can shorten your journey to publication by years. At their best, these groups are both a source of emotional support and a way to get thoughtful, detailed suggestions about your writing. If you have a supportive and helpful group, remember to say thank you (perhaps with hugs and chocolates).

Unfortunately, not every group is this wonderful. Some start well but fizzle out quickly, because not all members are committed. Others have trouble establishing a regular meeting time, although online groups can bring people together when they don’t live in the same area.

Cozy critiquing

Beginning writers in particular may find it hard to join a serious, experienced critique group. Often the most accomplished writers want to work with other professionals, and established groups may be closed to new members. Still, you may be able to join or start a group with other beginning or intermediate writers. You can learn together and encourage each other. Some groups have started with all new writers and several years later had every member published.

In the worst case, a bad group, or even one bad person in a group, can be discouraging, even soul-crushing. Watch out for problems and act quickly to protect yourself. This could mean leaving the group, starting a splinter group with some members, or setting up new rules for the current members.

Individual writers have different levels of sensitivity. If you find any critical comment horrifying, the problem may lie with you, and you’ll need to either develop thicker skin, or write for your own enjoyment but not expect anyone else to publish or review your work.

On the other hand, if you’re normally open to suggestions but a particular critique partner leaves you feeling like you never want to write again, you may need to end that relationship. If you have a good group except for one problem person, you might discuss the issue with other members of the group. Do you think the person might respond to a direct request for a change in behavior? If not, maybe that person could be politely informed that they are not a good fit for the group. Or you could disband the group and start a new one without telling them. If you don’t take some action, the group will fall apart and you’ll lose everyone.

Have you run into these problems in a critique group?

Next week I'll discuss some of the particular problem characters who can show up in a critique group. The following weeks will provide advice on taking classes and hiring a professional editor.

You can get this whole essay, and a lot more – including a chapter on Advanced Critique Questions – in You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and Teenagers. In this book, you will learn:

How to explore the wide variety of age ranges, genres, and styles in writing stories, articles and books for young people.

How to find ideas.

How to develop an idea into a story, article, or book.

The basics of character development, plot, setting, and theme.

How to use point of view, dialogue, and thoughts.

How to edit your work and get critiques.

Where to learn more on various subjects.

Order for Kindle, in paperback, or in Large Print paperback.

Sign up for Chris’s Workshop Newsletter for classes and critique offers.