Considering self-publishing? Here is an informative post on the topic from Miss Snark's First Victim that might help you make the decision:
Transformations Spirituality Center
Wouldn't you love to spend a weekend here? You can if you sign up for the SCBWI-MI Fall 2013 Revision Retreat. There are very few spaces left in an intimate retreat designed to move your picture book or novel to the next stage in development. Two tracks are offered: picture book revision lead by author Audrey Vernick and novel revision lead by author and freelance editor Deborah Halverson. Peer and faculty critiques are an important part of the retreat. The deadline for manuscript submission for critiques is August 15 so DO NOT DELAY!
FRESH IS BEST
Kathy Temean shares some great tips from Emma Coats who compiled nuggets of narrative wisdom she received over the years working as a storyboard artist for the animation Pixar studio.
1: You admire a character for trying more than for their successes.
2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be very different.
3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
17: No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.
18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
20: Exercise: take the building blocks of a movie you dislike. How would you rearrange them into what you DO like?
21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.
Emma Coats is a freelance director of films, boarder of story, and sometime public speaker. http://storyshots.tumblr.com/
Carrie Pearson is a children's book author, writer-cheerleader, and mentorship matchmaker.