Institute Childrens Literature

Rx for Writers

Transcripts

MODERATOR: That's wonderful! Now let's take a few more general questions from our viewers . . .

Dee: What are the most common mistakes that beginning writers make? And how can we avoid them?

Joan: Probably TELLING a story rather than SHOWING it. I had to think about that.

Dee: Do you send multiple queries?

Joan: Yes, at times I do.

MODERATOR: Pros and cons?

Joan: Queries aren't the same as mss. If I was lucky enough to get two editors who want to see the story or article, I'd have to tell them that another editor has shown interest and requested the ms. Sometimes this is good. My new book STAR in the STORM went out as queries to three publishers. They all wanted to see the ms. So when I sent a letter to each one saying that other publisher were considering it, but no one has made a commitment. Within two days the first editor called me to buy it. She was afraid someone else would get it. So in that case it worked fine. But another story might be different and the editor might say, "I like it but ... well, never mind. Let the other one have it."

MODERATOR: Inspiring story! I may try this myself!

Kim: Do you attend writer's conferences? If so, do you find that they are a good place to make editor contacts?

Joan: I used to attend more than I do now. Yes, you can meet editors that way. I met some writers who became good friends. I can't say that any connections with editors benefited me personally from conferences. But they have for others.

MODERATOR: I'm dying to ask you about something I saw in your bio . . . You're a graphologist: what IS that?

Joan: Graphology is the study of handwriting which can show physical and emotional traits.

MODERATOR: How did you get "hooked on handwriting?"

Joan: As a child I noticed the perfect image of a wheelchair in the capital "F" of a family friend, whose name was Fred. He was totally handicapped and in a wheelchair. He was not aware that this symbol was so clearly shown in his handwriting. Another sea captain's entire signature showed a ship in full sail.

MODERATOR: Did you just happen to notice these pictures? Did you make it a habit of studying signatures?

Joan: I noticed the wheelchair, and it was so fascinating I began to take notice of everyone's signatures. (I was about nine years old at the time.) I learned a lot before I even studied the subject on an academic program -- just by reasoning and giving it my close attention. I began to find books and teach myself about the subject. Later, when I took the certification test, I passed with flying colors. (Brag!)

MODERATOR: I know this curiosity led you to research that led you to China and a later writing project. What did you do at the Chinese conferences and elementary schools?

Joan: For my Chinese lectures I prepared several essays with slides to show famous artists, their paintings and their handwriting. I showed how the strokes, shading, etc. of their art correlated with their handwriting. Chinese use a totally different type of handwriting known as calligraphy. Our group showed how the same principles apply to any type of script. Children's scribbling, for example also gives strong indication of personality. The brain directs the hand no matter what type of alphabet or writing. Actually it's "brain writing" more than it is "handwriting." When my husband's handwriting became tiny (micrographic handwriting) I began to suspect a neurological disorder. He was later diagnosed with Parkinson's Disease, and one of the first things the neurologist did was to examine his handwriting.

MODERATOR: That's so fascinating. What then inspired you to write A LETTER TO THEO, the study of the handwriting of Vincent Van Gogh?

Joan: It was part of my requirements for the Chinese lectures. However, I did write it with a fictional slant, as if the essay were a letter written by a graphologist to Vincent's brother, Theo. It is written in simple terms to explain what might have been happening to Vincent. I received many compliments that although the article is scientific and explains the graphological implications of Vincent's handwriting, it is easy for laymen to understand -- "and not a bit boring." So my skills as a writer were helpful.

MODERATOR: That's so interesting! How do you organize your life to squeeze in time to write?

Joan: Organize! What's that? I am busy teaching ICL courses. When I receive my weekly package of lessons, that takes priority. Everything else is on hold until they are finished, usually within two full days. Then I do have other family obligations. I try to write in the mornings when I feel the most refreshed. But I hate to be interrupted as it interferes with the "flow." I'm not sure nonwriters would understand "the zone" or the "flow" but I do my best writing when I "disappear" and enter the wonderful place I'm creating. It is a really mystical feeling. This happens to me mostly when I'm writing fiction.

Dee: Do you wait for the flow to happen or do you set yourself a writing schedule?

Joan: Not every time I'm writing am I "in the flow." It's when I can truly concentrate and have a long period where I can be totally away from interruptions. "In the flow" is something more than just writing. It's letting the story write itself through you. That's another whole experience.

Steve: What do you mean by "flow" exactly? How do you get into it?

Joan: It's not really something over which you have control. Except, perhaps, being alone and totally absorbed in the story and characters. For example, as I was writing my story STAR IN THE STORM, there's a scene where the girl goes out to an iceberg to get ice for a sick, feverish friend (this really did happen back in 1912) and in my story the waves began to take her out and away from the shore, and there's danger... well, I was truly THERE! I was not at my desk or computer. I was there with the seas and the breakers and the great iceberg and it's one of the best chapters in the book. When my husband came into the room to speak to me after this long period, it was as if I were suddenly transported back into my room from somewhere else. An astonishing experience. There are books out on this topic. I can't recall titles off the top of my head. But it is a well-known phenomenon.

MODERATOR: I can almost feel those breakers! Just a note: there are two books by Mihaly Csikszentmihalyi called FINDING FLOW and FLOW AND CREATIVITY. He has a flow web site too. Joan--any helpful tips to avoid "the flow" being interrupted when you write?

Joan: Lock the doors, turn off the phone, and let yourself go.

MODERATOR: How do you get "warmed up" and in the mood to write when tired or feeling rejected?

Joan: Don't let the washing machine or dryer be working or don't be thinking about some phone call you have to make. Let family and friends know you are working. Don't give in and make exceptions or you won't be taken seriously. In answer to your question about being tired or feeling rejection: you do need to feel good when you're writing. At least I do. I can't do my best if I'm tired. But get a wonderful group like mine. When I'm feeling blue or down or not motivated, they are always there for me. They are not just "my group" but dear friends. I wonder if they're out there tonight. However, they are honest and give honest critique -- but also praise when it is merited.

MODERATOR: You write in so many genres: do you keep a writer's notebook for all your ideas? How is it organized?

Joan: I try to. But sometimes I misplace the notebook! I found an old notebook the other day and was so excited to see some ideas I had forgotten. I'm not terribly organized (as you can see) but if I hear a neat expression, or see someone unusual, I'll try to jot down the important points and then when I go to my computer, I have a "notes" and "changes" file for each manuscript. I type in those notes and later check them out as I'm working. This gives me new ideas for the story, or better descriptions of characters, etc. Notes are important.

MODERATOR: I like your system!!! When doing research, how do you decide when enough is enough?

Joan: Good question. For me research can go on and on, and perhaps is a subconscious excuse to put off the writing. I'm doing an historical novel about Boston right now and have come to a complete stop because I want to do some research there. However, this should not get in my way right now. I can certainly continue with the story and fill in details or descriptions later. However, it's better to have too much research than not enough. You don't need to use it all, but the story will be richer with good research behind it.

Andrea: Hi, Joan. Are you able to work on more than one project at a time or do you need to focus on only one piece until it's finished?

Joan: Whenever I do anything, I usually concentrate on just one thing. It's just the way I work. It doesn't mean that it's better. But I did work in a fairy tale this winter in the midst of my novel which was just sold to CRICKET.

Dee: When you are writing a novel, do you keep going or do some revisions while writing?

Joan: I go back and make changes as the story progresses. You see, the characters begin to take over and give me ideas, etc.

poepoeme: Have you ever had to go away from home - just off to a hotel in order to be able to concentrate and get some work done?

Joan: Yes, but actually, I think I'm more comfortable at home. I can concentrate better.

Dee: What types of articles do you wish there was more of or less of in the children's market?

Joan: I haven't really thought about this, because I'm always amazed at the many creative ideas that writers come up with, and the lovely themes, and I enjoy them all.

MODERATOR: You mentioned a writer's group or critique group earlier. Do you think they're valuable? Why?

Joan: Good critique groups are invaluable. You find support, motivation, critique, marketing information as well as fun and friendship. I say "good" critique groups, because some are better than others. Steer away from groups where only praise is given. You want objective critique as it is difficult to be objective with one's own work.

MODERATOR: A marketing question here . . .

Dee: What do I do when a magazine has liked my article but it was too short? I have a longer length written; do I send them their first response to me when I send the longer version?

Joan: If they ask you for a longer version, then hop to it and keep that correspondence with that editor open. If they rejected it because it is too short, and didn't ask for a revision you might still revise it and send it back to that editor with a copy of their rejection and say you've appreciated their critique and wondered if they would take another look at the revised version. This can be done tactfully. Doesn't hurt to try.

MODERATOR: Great advice!

Andrea: Do you have a particular favorite of all that you've written and why?

Joan: I love my new book, coming out in March, STAR IN THE STORM, because it is from my heart. It's a historical novel about Newfoundland and dedicated to the memory of my mother. Also, it is about a wonderful girl and her dog. I've come to love them, truly feel they are real. It will always be my favorite work.

MODERATOR: I'm really sorry that we're going to have to stop now. First, thank you so much, Joan, for coming tonight and sharing your expertise in so many areas with us!

Joan: It's been a pleasure. Thanks everyone for being a great audience. Let's do it again sometime!

MODERATOR: I hope you all can return next week when we'll be visiting with Joan Broerman as she discusses "Getting On Track--And Staying There." Joan Broerman was recently voted one of two l998 SCBWI Members of the Year for her work as regional advisor for three southern states. She is published in magazines such as THE WRITER, CHILDREN'S WRITER, and CHILD TIMES. She is currently working on a book called WEEKEND GETAWAYS IN ALABAMA, due out in the year 2000. Join us next week in the SCHEDULED EVENTS chat room for an inspiring interview with Joan Broerman! And good night!

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