Dare to Be Mediocre with Children's Writer Katherine Paterson

Tucson Festival of Books

Lorna Kerin Beall 

For years my daughter Jana has invited me to go to the Tucson Festival of Books and I finally went. The fest was amazing.  In addition to street fair vendors, book signings with your favorite authors (500 of them!), entertainment, a science pavilion, and kids’ activities; they had authors speak on every topic imaginable.  I was delighted to find that there were at least twenty-five authors who spoke about writing for children.

The speaker I enjoyed most was two-time Newberry winner, Katharine Paterson, the author of one of my favorite children's books, The Great Gilly Hopkins. I found her encouraging, humorous and humble. She told us that no one thought she had the makings of a writer. In fact, when she was growing up, she wanted to be an actress or missionary. She ended up marrying a minister and joyfully becoming a missionary. But she still harbored thoughts about writing. Then a wise friend (and writer?) said, “Maybe that is something God is calling you to do.” Katherine protested that she didn't want to be mediocre. The friend replied, “If you don’t dare to be mediocre, you won’t be a writer.” 

I’m sure Katherine’s words inspired beginning writers, but they also rang true for me. I believe in plunging ahead and getting that first draft done, warts, typos and all. But I take it a step farther. Some of my friends only write when they’re inspired. Maybe that works for them, but I’d never get anything done.  I've discovered that I've accomplished some of my best writing when I didn't feel like it, and that the writing seems to have more depth. Then I go back later and  smooth out the rough spots. 

          

Katherine’s minister husband became her first supporter and editor. If he had insisted that she strictly maintain the traditional role of a minister’s wife, she would've never found time to write.  He informed his parishioners that she had her own calling!

Listening to Katherine Paterson

I related to this. Having six kids, we often had difficult financial times, but Richard never insisted that I get a job, and he always encouraged me to write. When he sees me puttering around the house, he’s known to  grumble, “Why aren't you in your room writing?”  This was in spite of the fact that I got (and still often get) enough rejection slips to wallpaper that room.

In addition to being inspired by Katherine, I felt a special camaraderie with the other writers.  With free lectures, panels and workshops on writing in every genre, as well as panels on self-publishing, marketing, and getting an agent, I would recommend this free festival to any author or aspiring author.

I was delighted when Katherine held up her brand new book and said, "It's called, The Story of My Life." It touches on both her life and her writing. My hubby claims that I totally ignored my own writing (not to mention cooking and housecleaning) while reading her amazing book. I hope all of you enjoy it too!

Weaving Emotional Truth Through Your Story

by Lorna Kerin Beall

Happy Thanksgiving! What are you thankful for? I’m thankful to God for His abundant love and blessings, especially that He sent His Son to be our Savior.

Regarding writing and weaving stories, I wanted to share a little more from what I learned from Suzanne Morgan Williams, the author of, "Bull Rider," at The Society of Children’s Book Writers and Illustrators’ Conference I attended recently.

There's an old writing adage, “Write what you know.” But do we really have to stick to what we know or have personally experienced?” The answer is a resounding “No!” I’m sure Ms. Williams has never ridden a bull! (Though I did ride my steer, Cocoa, but he was as gentle as a newborn calf.)                                

Suzanne explained how we can transfer some of the emotions or knowledge that we gain from different life experiences to the characters in our story. She shared how being around her uncle with Parkinson’s disease enabled her with the characterization of Ben, the brain-injured, partially paralyzed war vet, in her book. Her dear uncle sat there crying when Parkinson’s finally took his voice. Like her uncle, Ben had to struggle to get out a few sometimes-incoherent words. Suzanne also used something that happened to her daughter when describing Ben. When her daughter was in the midst of a divorce she’d blurted out, “Nobody will want me,” and the author was inspired to have Ben cry out, “Nobody will want me.”  What makes this so powerful is that it rings true.

Have you experienced something that evoked strong feelings or emotions in you? Draw on those feelings to enrich your story. Your experience provides the emotional content of the story – and more importantly emotional truth. Even if you're writing a genre piece like horror or fantasy, weaving in the emotional truth of a character will elevate that story to a higher level.

Older than Dirt

by Lorna Kerin Beall 

I'm used to going to writers' conferences where many of the attendees are retired. It makes me feel young! But you know you are older-than-dirt when a youthful and vibrant lady editor tells you that you should put romance in your middle-grade novel with a 12-year-old protagonist and you stare at her blankly.

Apparently, I'm not the only one who has experienced this revelation. Author/speaker, Suzanne Morgan Williams told about a time she was interviewing a teen bull rider while doing research for her now published Y.A. novel, Bull Rider. She’d formerly interviewed several older bull riders, one whom answered every question with a one word answer, often yes or no. So she was thrilled to find a bull rider who was the perfect age to share the teen perspective. He even admitted to blacking out in his first ride. (That was evidently quite common.) He told her about his many youthful experiences including his emotions of fear, courage and pride. Just as Ms. Williams was starting the interview the teen’s phone rang. It was his mom and she was concerned that he was in the hotel bar with other older bull riders. He wasn’t drinking and told his mom that he’d be right up and not to worry, he was with a really old lady!

But Suzanne had a totally different experience where she interviewed an 80+-year-old elder of a tribal village. When he found out from the translator that she was only 55, he wouldn't talk to her because she was too young! When she explained to the translator that she was writing to help children, the revered elder totally reversed himself, and told her all kinds of things, even demonstrating a spear throw to the wall and showing her some kind of animal skull.

So perhaps age is relative. The good thing about being older is that you have the time to explore the child in you. In my opinion you are never too old or too young to write a story. Just let that child or elderly person come out to play!

HOW TO GET THE MOST OUT OF A LITERARY CRITIQUE SESSION

by Lorna Kerin Beall

I recently attended a wonderful Children’s Writing Conference in Springfield, Missouri, and had a chapter of my middle-grade novel critiqued by, oh joy, an acclaimed editor!

When I registered, I was handed a one-page critique along with my manuscript pages, but didn’t have time to read it beforehand. What did I do during my precious fifteen minutes with the editor? I blabbed the whole time, hardly giving her a chance to speak. Later a friend and fellow writer confessed that she’d often find herself doing the same thing. How do I prevent this from happening again? And better yet... 

How do you get the most out of a conference critique session?

1) After writing it down, practice what you are going to say. (Jana has told me that she has done this for “screenplay pitch sessions.”)

2) If you haven’t put the genre and targeted audience at the top right hand corner of your first page (or wherever they might request that information), tell the person that information. Also mention the word count/and/or number of chapters.

3) Briefly tell the plot of the story and what is unique about it. Also relate the ending.

4) Write down questions you want to ask, and feel free to take notes. (Some of us have senior memories.)

5) If you’ve had a chance to read the written critique, and you need the person to explain or elaborate, this is the perfect time to ask.

I didn’t notice until days later that the editor gave me a wonderful compliment in her written critique. She graciously said my chapter of The Wormy Bean Winter reminded her of some of the best work of O.E. Rölvaag, the acclaimed author of Giants of the Earth, (A novel about homesteading in South Dakota, first published in 1927.) I admit it, I’d never even heard of him. But I immediately looked up information on the Internet, and requested his books from the library. The only one available was Giants of the Earth and I loved it! Because of the time era I expected to be bogged down in lengthy description, but I wasn’t. It has a unique slant, (especially for that time period) bringing out both the Norwegian husbands and wife’s viewpoint about homesteading in the desolate prairie. This is too simplistic- but Per Hansa was exuberant about the whole experience, while his wife, Beret, nearly became suicidal.

After devouring the book, I decided to make up for my neglect in responding to the editor’s gracious comment about my work. Since my book has a Finnish protagonist, I found a thank you card that said thanks in several different languages. Of course, it didn’t have the Finnish word, so I added it at the bottom of the list:“Kiitos!”

6) Lastly, whatever the editor, agent or author says about your work be thankful for their time and effort. And express it. You may disagree and that’s your right, but often when they suggest changes it’s more helpful than accolades. I got both from the editor who critiqued mine. Though I have to admit her compliment was like a sweet taste of molasses. (I started to say honey, but molasses figures largely in my old-timey prairie story.)

Keep writing, going to conferences and having consultations. It’s worth it!

Note: Some guidelines adapted from The Society of Children's Book Writers & Illustrators' handout, "Manuscript Consultations."  

Rag Dolls and Kewpies

by Lorna Kerin Beall


I recently attended an OWAIC Writing for Children conference in Springfield with two of my good friends. Though it wasn’t the main theme of the conference, the focus that I came home with was to "write from the heart."

I hadn’t planned to buy a book but keynote speaker Paula Morrow, the editor and publisher of Boxing Tree Books, put out copies of the book, Rose O’Neil, The Girl Who Loved to Draw, by Linda Brewster. (Rose O’Neil was the creator of the Kewpie Doll.) It’s a beautiful book with innumerable pictures illustrating Rose’s life as an artist by both Ms. O’Neil and author Ms. Brewster. It’s a feast for eyes and heart. And I loved how, in the early chapters, the author captured the child like wonder of little Rosie. 

But one reason I wanted this book was because it reminded me of the Kewpie doll that I got when I was four-years-old and living with my Finnish Mumu in the tiny town of Buffalo, South Dakota.

When I was six, my Mama married my Step-Daddy and we were about to head out West to find a new home. I wrapped Kewpie in tissue paper, and after a final kiss, put her in a Buster Brown shoe box and packed her with the rest of our things in the back seat. She traveled with us to an apple picking camp in Hood River, Oregon. I felt bad that Kewpie was missing the sights like the huge Hood River and Mount Hood. The mountain looked like my Grandpa with its white head and beard of snow. But I was happy that Kewpie was with us. At least I got to cuddle the Raggedy-Ann my Mumu had made. We’d tell Kewpie everything when we got to our brand new own home. (Our oma tupa.)

We loved our new stucco-covered home in Prosser, Washington even though Mama said it looked like a chicken coop and we had to use the outhouse at first. Snug in our oma tupa,  I gave both Kewpie and Raggedy Ann a goodnight kiss every single night. 

I still have my porcellin Kewpie though her “skin” is cracked and wrinkled much like my own. Sometimes it's good to unpack childhood toys and family heirlooms to see what precious memories they conjure up and what stories they inspire. I appreciate the sweet reminder I got to "write from the heart"  from the conference, Linda Brewster’s book, and memories of my beloved Kewpie Doll.