| If you've recently signed up for a writing | | | | about how to do this, next). |
| workshop or writing class, in the hopes of | | | | 5) Find other writers to network with and even |
| becoming a better writer, then follow these simple | | | | hang out with, and read publications for writers. |
| steps to make the most of that experience: | | | | Join a local writers' group or at least sign up for |
| 1) Read! Read! Read! | | | | one online (at you'll find all sorts of groups for |
| Before the very first class or workshop, survey | | | | writers). Try to find a group that includes at least |
| ALL the class materials so you will get an idea of | | | | a few published writers. Generally, writers like to |
| what to expect. | | | | be helpful. They will usually share marketing tips, |
| Most good writing classes (and workshops) will | | | | writing resources, etc. and will help you to more |
| provide students with a wealth of helpful | | | | fully understand what you learn in a writing |
| materials. But these materials won't do you any | | | | workshop or writing class. |
| good if you don't bother to look at them. In fact, | | | | Also, talk to some of the other writers in these |
| if you have time before the workshop starts, | | | | groups to find out how they write. Then use |
| read as many of the materials as you can. You | | | | some of their tips to improve your own writing, |
| might not fully understand what you are reading. | | | | writing habits, etc. Hang out with the published |
| That's okay. Learning is recursive - which means | | | | writers and you'll soon learn that they probably do |
| your understanding will increase each time you | | | | a LOT of rewriting before they sell any of their |
| study or reread the information. | | | | work. |
| If you don't have time to read the materials | | | | Read publications for writers to gain current |
| before the class begins, then at least look over all | | | | marketing news and tips, and to find out how |
| the materials beforehand. Also, besides the | | | | other writers became successful. |
| required course materials, if there are suggested | | | | All these things will help give you the confidence |
| additional materials, get those too. And read them! | | | | to keep writing (and to keep practicing what you |
| Also, read the kinds of things you wish to write. If | | | | learn in your writing workshop or writing course) |
| you want to write stories for children, READ | | | | until you manage to get something published. |
| stories for children. If you want to write culinary | | | | 6) Don't expect writing to be easy, and don't |
| mysteries for adults, READ culinary mysteries for | | | | assume that if it isn't it must mean you don't |
| adults, etc. | | | | have enough talent to succeed as a writer, so |
| SPECIAL NOTE: Also, realize this. If you don't | | | | you might as well drop out of the workshop or |
| enjoy reading, then you probably won't enjoy the | | | | writing class. |
| work it takes to become a successful (by that I | | | | Actually, most successful writers will tell you that |
| mean, published) writer. Published writers are like | | | | talent isn't the most important quality for success. |
| sponges - anxious to soak up any information | | | | The ability to follow directions (which will |
| about their craft that they can. | | | | eventually come from an editor or editors) and |
| 2) Carefully read the directions for each and | | | | the willingness to continue writing and rewriting, |
| every assignment and follow the directions TO | | | | until at least some of the many rejection letters |
| THE LETTER. | | | | you get in the mail turn into acceptance letters, |
| I'm surprised that so many people pay for a | | | | are much more important qualities for success as |
| writing course (like the one I teach for the | | | | a writer. If you realize this BEFORE you start any |
| Institute of Children's Literature), yet a large | | | | writing workshop or writing course, you will be |
| number of these people don't follow the directions | | | | more likely to stick with it, even when the work |
| for each assignment. In some cases, it's painfully | | | | gets difficult. |
| evident that they didn't even bother to READ the | | | | These successful children's writers offer additional |
| directions. What they need to understand is this - | | | | tips: |
| usually each assignment or lesson in a writing | | | | Cynthia Leitich Smith, award-winning author of |
| course or workshop was designed with specific | | | | JINGLE DANCER (Morrow, 2000)(ages 4-up), |
| objectives in mind. If the student doesn't bother | | | | RAIN IS NOT MY INDIAN NAME (Harper, |
| to read and follow the directions for each | | | | 2001)(Listening Library, 2001)(ages 10-up), and |
| assignment, then the instructor has little chance of | | | | INDIAN SHOES (Harper, 2002)(ages 7-up), and |
| helping the student meet those objectives. | | | | other works, says: |
| 3) Avoid defending your work to your instructor. | | | | "Be brave. Participate. Put yourself out there. |
| Generally, students pay an instructor because he | | | | Don't defend or explain away your work. Don't |
| (or she) has some expertise and experience in | | | | think of the other students as competition. And |
| writing, which usually includes many publishing | | | | don't worry if you're not 'the star.' Your focus |
| credits. In fact, you should ALWAYS look for an | | | | should be on improving your craft--period." |
| instructor who has publishing credits. But then | | | | Pat McCarthy, an Instructor with the Institute of |
| listen to what that instructor has to say about | | | | Children's Literature, and author of 5 YA |
| your writing, then follow his advice without trying | | | | biographies and 5 nonfiction books for children |
| to defend your work if it goes against what he | | | | suggests: |
| has suggested. | | | | "Don't write something different from what is |
| Your instructor knows what he is talking about. | | | | assigned because you like to do it your way. Do |
| For example, many times I tell students that in | | | | use the manuscript format - double spaced, etc." |
| stories for children, adults should play very minor | | | | Susan Wright, another instructor for the Institute |
| roles, and the child or teen in the story should | | | | of Children's Literature, and author of the DEAD |
| always solve his own problem without a parent or | | | | END ROAD MYSTERIES (for ages 10 & up) |
| other well-meaning adult stepping in to save the | | | | advises: |
| day. Many students want to argue that adults | | | | "Pay attention when others' work is being read |
| save the day for kids all the time in real life, so it | | | | and critiqued--it's not just common courtesy, but |
| should be okay that Aunt Martha calling at the last | | | | we can often learn a lot from it. Resist the |
| minute to offer little Janie the money she needs | | | | temptation to go off on personal conversational |
| for summer camp is the perfect resolution for | | | | tangents until after the session. Workshop or |
| their story. | | | | class time is limited and valuable." |
| Sure, this kind of thing happens in real life. But, in | | | | L.D. Harkrader, author of 9 nonfiction books for |
| stories for kids or teens, editors want the child to | | | | children, and the middle grade novel, AIRBALL: MY |
| solve his own problem. Don't waste precious time | | | | LIFE IN BRIEFS (released earlier this month by |
| (yours or the instructor's) arguing about | | | | Roaring Book Press) says: |
| something like this. Your understanding of WHY | | | | "When your instructor makes suggestions on how |
| you should do what your instructor is asking you | | | | to improve your stories, don't be afraid to revise, |
| to do (or not do) will increase over time and | | | | and don't trick yourself into thinking revision is |
| study. Do what your instructor suggests, without | | | | merely cosmetic work--a word or comma |
| defending your reason for going against his | | | | changed here or there. Consider what your |
| directions, and you'll move ahead at a faster pace. | | | | instructor has suggested, give your stories a hard, |
| 4) Learn to research all sorts of topics. In other | | | | honest look, then dig into your revision, ruthlessly |
| words, don't depend on instructors, editors, | | | | cutting or changing anything that doesn't work. |
| publishers, or anyone else to provide you with | | | | Your stories deserve to be as strong and as |
| ALL the information you need in order to become | | | | publishable as possible, and the only way you can |
| a published writer. | | | | achieve that is to be brave and do the work." |
| Your instructor will probably give you research | | | | Okay. So now that you know how to make the |
| tips and marketing information, of course. But | | | | most of that writing workshop or writing class |
| most published writers are self-directed learners. | | | | you just signed up for - go get ready for it. And |
| By that I mean, when they don't KNOW | | | | have a great time! |
| something, they figure out HOW and WHERE to | | | | See you in print! |
| get the needed information themselves (more | | | | |