I Write Like....

Someone I know recently sent me to this website, I Write Like….

You enter in a sample of your writing and the site tells you what famous writer you most write like.

I’m not to willing to swear on this site or attest to its accuracy. But I thought it would be fun and possibly enlightening…

I entered 8 different writing samples of my own writing -- pretty diverse choices.

Apparently I Write Like:

George Orwell
Cory Doctorow
Cory Doctorow
James Joyce
Kurt Vonnegut
Cory Doctorow
Robert Louis Stevenson
Cory Doctorow

Well, obviously I’d better go and read some Cory Doctorow…or maybe I’ll go type in some Jane Austen to that site and see what happens…..bruhahahhhahahhaa…..

Check it out and let us know who YOU write like…..

Wow

Boy, are those Spinellis smart.

We had a barbecue today, and while everything was being prepared, Jerry and Eileen Spinelli talked to us. (How amazing is that!!!!) They asked each other the questions they hear most often and then answered them.

My favorite takeaway was about ideas. You know I hate the concept of ideas equaling stories. I am convinced that good books are all about the execution of an idea- not the idea itself.

However, Eileen made an excellent point about why new authors especially focus on finding ideas. It isn't that they don't have ideas.

It's that they don't trust them. They're not sure it's a good idea. They're not sure it's grand enough. But Eileen said writing is not a case of capturing grand ideas so much as "the ability to pull the grandness up out of an ordinary day."

So take a second look at a few ideas that you have. Maybe they're ideas for new stories, or maybe they're ideas about how to make your current work in progress better. But give them a chance. Give them something cool to drink and sit down and chat a while. You might discover your ideas aren't so bad after all.

Let us know: how do you treat your ideas? What do you do with them? Have you found it easier to trust yourself the more you write?

This has helped me...

I'm in the middle of huge revisions on my MS. I've lots of time to work now that school is out.

But more important than that, I have a deadline. I applied to be part of the Nevada SCBWI Mentor Program. Program participants are matched with a mentor who will work with them for six months (six months!) to get their MS on track.

I'll know by August 1 if I've been accepted. If I am accepted, I'll have to send my mentor my MS within a week of the notification.

So, I've been hauling though my MS, revising the new second half that I wrote last year. This is not a pruning, polishing sort of revision. This is digging in, up to my elbows, so I can extract gems from the rough draft and arrange them in some sort of compelling order.

I'm halfway through, but it's been exhausting work. Several times I've finished revising a chapter and not been able to tell whether it's been an improvement. I'd lost my vision, which is a big part of revision (six letters, by my count).

My tendency is to push on through, to show the MS who's boss, but Steph mentioned a piece of advice that Alisha Niehaus gave her: if a scene is giving you trouble, write a few scenes past it, and then come back to it.

Yes, it is ridiculously simple, but it has been saving my bleary-eyed self. When I get tired, I lose perspective of what's working, what's necessary. Every time I've worked a few scenes ahead, it's given me a better idea of what needs to happen to set up the scene I've moved ahead to. Then I'm able to return to the difficult scene, weed out the unnecessary, and emphasize what's working.

So, for those of you who are working hard, who (like me!) will be as pale at the end of this summer as you were at the beginning, consider skipping ahead when you hit a wall. I'd also love to hear any other tips you might have for tackling a difficult stretch of writing.

Camp 3 (Sunday morning) at the SCBWI Mid-Atlantic Novel Revision Retreat

We woke early in the Big Meadows campground despite our late night s’more party (lol! ended by 10 PM). The clouds hugged the Blue Ridge Mountains, or so we thought. Within half an hour the sky was clearing and the day turned sunny.

Over breakfast we talked about what a great party it had been. Though only three of the participants at our writing retreat attended, among them was Alisha Niehaus, Senior Editor from Dial Books for Young Readers.

In her Last Chapter session, Alisha mentioned the standard elements of tying up the narrative and emotional arcs. But also how authors can create a little mystery by opening doors for their characters in the final chapter. This engages the reader’s imagination at guessing what will happen next. Alisha suggests your think of the last chapter as a playground where you and the reader can have a little fun.

Other tidbits gleaned from Alisha on writing: salt heavily with pungent verbs and lightly with peppery adjectives, coming of age is often your focus, and your plot should move the characters through their emotional arc by building events and challenges.

I was very glad I attended the retreat and would recommend it. But I personally suggest you camp. It adds flavor to the retreat.

Camp 2 (Saturday afternoon) at the SCBWI Mid-Atlantic Novel Revision Retreat

My two fellow campers and myself sat through the downpour, happily dry in the Big Meadow Lodge but with worries about our campsite. The storm tracked along the Blue Ridge Mountains and put it directly over our tents which were comfortably snuggled among the trees of the Shenandoah National Park. But who could pull themselves away from the second craft session on First Chapters to the futile task of saving our camp? Our tents were staked down, so no threat of Wizard the Oz II. Fellow Slushbuster Stephanie, the engineer amongst us, had strung up a tarp over our picnic table the day before. It withstood a very windy night so we hoped it could survive this summer thunderstorm.

Again Alisha Niehaus, Senior Editor from Dial Books for Young Readers led the session. Her advice on what needs to be in your first chapter came in three pitches: show who the characters are emotionally, plant a seed of where the plot will take the reader and create a clear and unique voice. Hit all three and you’ll have the bases loaded.

On the matter of voice, she described it as heart, made from melding together the voices of the author and characters.

As examples Alisha used two novels she edited, showing the before and after rewrites. This was a real treat of the s’more variety. The two books were Savvy by Ingrid Law and The Sky is Everywhere by Jandy Nelson. Her edits included changes in plot to build more tension, scaling back characters so as not to overshadow the main character, creating other characters and, of course, grammar corrections.