Welcome revisers!! The amazing Carrie Finison is our guest blogger for today with a post full of writing truth! Carrie has kindly offered to do a giveaway, so comment on this post (before midnight Monday Nov 16th) and you'll be entered to win a picture book critique (rhyming or prose, under 1000 words). Welcome Carrie!

The Seven Stages of Revision
by Carrie Finison 

 

I did something scary recently. (Writer scary, that is.) After a great critique with an editor I met at a conference, I cracked open a manuscript I haven’t worked on in two years.

Happily, she didn’t say it was terrible, or awful. It’s a good story. But could it be better? I decided it could. Mind you, it took me a while to come around to that decision. Getting a tough critique can spark something in me that is akin to grief. It’s grief for the loss of that dream version of the story – the one where it’s perfect just as it is, and the editor raves about it and offers me a contract on the spot. Letting go of that rosy vision and facing the tough reality is difficult.

Like grief, revision is something that must be worked through, and each stage comes with its own characteristics.

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THE SEVEN STAGES OF REVISION

Stage 1: Shock or Disbelief
What? My story doesn’t hang together? My characters aren’t appealing? My prose isn’t perfect? My plot lacks surprise? That can’t be right!

Stage 2: Denial
Clearly, Ms. Fancy-Pants New York editor has no idea what she’s talking about. She must not have read my story carefully. She probably doesn’t work in this genre. What does she know?


Stage 3: Anger
I’m not going to do it! I’m not going to make any changes. It’s my story and I’m sticking to it, period, the end! Someone else will probably love it just the way it is.

Stage 4: Bargaining
Maybe if I just change this one little thing, the whole story will work much better and I’ll be done revising.

Stage 5: Depression
She’s right. This story stinks. All my stories stink, and I won’t be able to sell any of them ever. Might as well give up this writing thing.

Stage 6: Reconstruction
Wait.

She might have a point.

OK, I can see that this character’s choices aren’t making much sense. I’ll try one of the things she suggested and see how it works….

Hey, that actually does make more sense. And that gives me a great idea for an even better ending.

Stage 7: Acceptance and Hope
This revision stuff is hard work, but it’s actually kind of fun. My story is much stronger now. I can’t wait to send this to my critique group and see what they think!

**********************************************
Does this seem familiar?

For me, getting out of Stage 5 and into Stage 6 is the hardest part. I find that it works best to sidle up to a major revision, rather than trying to take it head on. For days, or weeks, I will collect ideas that I think might contribute to a stronger story. These might be suggestions from critique partners, new plot points to consider, words or phrases I’d like to include, or some way to twist one of the story elements into something else. When I finally do sit down to revise, I’m not starting from scratch. I also make sure I have coffee or tea and some baked goods on hand. There’s not much that can’t be made better by a cup of tea and a nice scone.

It takes a lot of mental energy to produce a good revision, one that goes deep and makes the story stronger, tighter, and better than ever before. But when you come through to the other side…it’s worth it!

So very true. Thank you Carrie!

 






Carrie Finison began her literary career at the age of seven with an idea, a box of markers, and her father’s typewriter. Some of her more recent work has appeared in Babybug, Ladybug, Highlights and High Five magazines, and in 2014 she won the SCBWI Barbara Karlin grant for picture book writing. In addition, she writes and develops content for educational publishers. Find her at www.carriefinison.com.

Petite ReviMo June with Deb Lund plus a Giveaway!

Good morning revisers!! :D We've got a fabulous guest AND a giveaway! Comment on Deb's post today and you'll be entered to win a deck of Fiction Magic Cards!

Revision Quest
by Deb Lund


What’s the difference between people who dread revision and those who love it? Is it experience, or strategy, or (yikes) personality?

Characters head out on quests, and revision is a quest of its own.

When I talk about revision in school visits, I tell them how I can always tell the difference between little-kid writers and those who are a little more mature (obviously I don’t say this to the youngest audiences). Then I ask what little kids say when their teacher wants them to write more, and someone always answers correctly. “But I’m done!”

Writing is rewriting. You have to mine through lots of rock to get to the gems, and it’s in revision that you arrange those gems, polish them, and show them off in a setting you’ve designed. You might string them together like a necklace, revising the placement of each stone until it’s the perfect combination.

Two of my editors have told me I was their best reviser. I didn’t always fit that title. As writers (or creators of any art), we have these quirky voices in our heads that tell us we can’t do it, or it’s going to take too long, or it’s just too overwhelming to begin. And then those same voices have the audacity to tell us that we’re the only ones who struggle with revision. We look at the completed work of others and know it’s beyond us. We have a vision, but it doesn’t come out of our heads the way we see it before it lands on paper.

Guess what? That’s true for everyone! Nothing creative ever takes shape exactly the way it’s planned. We’re so busy judging others from the outside, not realizing that they may have the same insecurities as we do on the inside. We believe we’re doomed to fail the revision quest. Revision is where the line is drawn for some of us. We hand over our power, quaking, tiring as we near the finish line. We’re scared. We think this is where we find out if we are worthy or not. So we put it off until it becomes a big monster, a worse adversary than any villain we could create. It’s time to transform that monster.

Do you like jigsaw puzzles? Exploring new hiking trails? Are you a collector? Do you hit thrift stores looking for finds? When you read your favorite books, are you willing to go to the ends of the earth with those characters just to find out what happens? You need to kindle that same kind of passion when revising your own writing.

Revision doesn’t have to be the dirty work. Turn it into play! Host a revision party, dress up as your character, act out scenes, or dream up a handful of “What If…” questions for each scene that doesn’t trigger an emotion for you. Use your Fiction Magic card deck! Replace your judgment about revision with curiosity toward it. Tell yourself a new story about revision.

But yes, it’s true. People who like revision are neurotic. I know. I get downright obsessive with revision. And I love it—partly because of experience, maybe because of a few strategies I’ve learned, and (yikes) my quirky personality. But you can develop a love for revision, too. It just takes energy. A boost in passion. A willingness to let go of misbeliefs. And then you’re unstoppable.

The experience will come. There are strategies galore on this blog. Oh, and that personality thing? I lied. Personality has nothing to do with it. It’s something even quirkier than that. But it’s something you can change.

It’s attitude.

You’re a writer, and as I always say (and you can quote me on this), “Sometimes the stories writers most need to revise are not the ones they write, but the ones they tell themselves about their writing.”

Change your story = change your attitude = change your outcome.

Best wishes on your quest…

Deb Lund is the creator of Fiction Magic: Card Tricks & Tips for Writers, a popular tool for revision, now 50% off. She just finished a wilderness quest to (among other things) help her revise her writing life. She knows her brain needs a little play and get-away time, and she knows yours does, too. That’s why she’s using her gifts as a teacher, author, and creativity coach to facilitate a Kidlit Creativity Camp at a New York state park where play will be your work as you transform your current stories—the ones you write, and the ones you tell yourself—and create new ones. Learn more from Deb at www.deblund.com.

Link for “Fiction Magic…”:
http://deblund.com/debs-services/fiction-magic/

Link for “Kidlit Creativity Camp”:
http://deblund.com/debs-services/for-writers/sept-15-18-writers-retreat/

Petite ReviMo May - Marcie Flinchum Atkins

Picture Book Refrains
By Marcie Flinchum Atkins

What is it that gives a picture book that rereadability or allows for reader participation? What gives a picture book that remembering quality, like it's our favorite song?

Refrains can often give a picture book those qualities. Should every picture book have a refrain? Definitely not. But as you are revising, it is something you can try to see if it works for your particular manuscript.

A refrain in a picture book is a word or set of words that's repeated at various times throughout the text.

I looked at different examples of books with refrains and found a few common categories in the set of books.


Reader Participation

Sometimes the refrain makes the readers want to chant and participate in reading the book.

Monsters Don't Eat Broccoli
By Barbara Jean Hicks, illustrated by Sue Hendra
Knopf, 2009

In Monsters Don't Eat Broccoli, the refrain is:

"Fum, foe, fie, fee, monsters don't eat broccoli!"

It is spoken by characters in the book who are actually children pretending to be monsters.




Big Plans
By Bob Shea and Lane Smith
Hyperion, 2008

In Big Plans, the refrain varies throughout the book, but it is also chant-like.

"I got big plans, BIG PLANS, I say."

Each variation includes the words BIG PLANS in some form.




Wolfie the Bunny
By Ame Dyckman, illustrated by Zachariah O'Hara
Little Brown, 2015

Varying the refrain makes it even stronger. While the reader anticipates what the refrain will be, changing it just slightly makes the story still surprising. Ame Dyckman doesn't this brilliantly in Wolfie the Bunny.

Dot, the child bunny, is afraid a new adopted wolf baby will eat them and repeats the refrain, "HE'S GOING TO EAT US ALL UP!"

At one point, Dot realizes she's not being heard and says, "HE'S GOING TO…oh, skip it!"

When Wolfie gets captured by a bear, Dot steps in and says,

"Let him go!" Dot demanded. "Or…I'LL EAT YOU ALL UP!"

Here we have a twist on her refrain and we see a character change.

Some commonalities I noticed among these texts:
The refrain is spoken in dialogue.
The refrain reveals character. Because it is a character that's speaking, we learn about the character's personality through their words. And in all three cases mentioned, the characters mirror larger-than-life preschoolers and their emotions.
The refrain interjects humor. I can't help read these refrains without smiling or giggling.
They make excellent read alouds. One of the hallmarks of a good picture book is rereadability. Can it stand up to repeated reads? Young listeners want to read these books and they get into the book, even picking up on the refrain and participating.


Lyrical Refrains

I'm a big fan of lyrical picture books where the words are so beautiful you just want to melt into the page. But sometimes, these books need a little bit of oomph to pull the reader through the story.




Winter is Coming
By Tony Johnston, illustrated by Jim LaMarche
Paula Wiseman/Simon & Schuster, 2014

As nature prepares for winter, it has its own rhythm. In Winter is Coming, Johnston uses the refrain "winter is coming" to help pull the reader to the anticipated event: winter's arrival. The refrain leads to the climax. Once we have reached the anticipated event, the refrain changes to: "Winter is here." 




You Nest Here With Me
By Jane Yolen and Heidi E.Y. Stemple, illustrated by Melissa Sweet
Boyds Mill Press, 2015

You Nest Here With Me is a soothing bedtime story that rhymes. It follows different birds as they nest, but it is bookended with a mother and child. The refrain "You nest here with me" is at the end of each stanza.  It does change slightly at the end to: "You'll nest right here in our house with me." The refrain mirrors the love of parents throughout and it contributes to the peacefulness of this bedtime book.

Nonfiction Refrains

I originally began my refrain study in nonfiction because I noticed several picture book biographies that I really loved had refrains. In three of the four nonfiction books that I looked at, the refrain focused on the person and what made them stand out.




Miss Moore Thought Otherwise
By Jan Pinborough, illustrated by Debby Atwell
Houghton Mifflin, 2013

The refrain in this book calls attention to what makes Annie Moore notable. When she is a child, the refrain says, "Annie thought otherwise." As she grows into adulthood, the refrain changes to, "Miss Moore thought otherwise."




The Tree Lady
By H. Joseph Hopkins, illustrated by Jill McElmurry
Beach Lane, 2013

This picture book biography has a varying refrain.

"But Kate did."
"But not Kate."
"But she did."
"But thanks to Kate, it did."
"Katherine Olivia Sessions did."

All of these variations on the same refrain help pull the thread of the story through to the end. We follow Kate Sessions and her love for trees and how her actions impacted San Diego.

Just as in Miss Moore Thought Otherwise, the refrain points to a determination and "going against the grain" in these ladies' lives.




George Did It
By Suzanne Tripp Jurmain, illustrated by Larry Day
Dutton, 2006

George Did It talks about the difficulties George Washington faced as a leader. The refrain in the story is, "George Did It." Unlike the two previously mentioned picture book biographies, it doesn't have the refrain throughout the book. It is used in the beginning a few times and again the end. But it does share a similar purpose: to show a determined person who made a difference.




One Plastic Bag: Isatou Ceesay and the Recycling Women of the Gambia
By Miranda Paul, illustrated by Elizabeth Zunon
Millbrook Press, 2015

One of my favorite refrains is the one Miranda Paul uses in this book. Her refrain changes each time, but it shows the progression of the story and shows how a village was changed over time.

"One fruit tumbles.
Then two.
Then ten."

Later in the story…

"Holding her breath,
she plucks one plastic bag from the pile.
Then two.
    Then ten.
        Then a hundred."

There are seven different variations on the refrain. They each use numbers, but each time, it shows how the village is changing a little bit at a time.


One thing is for sure, refrains give cadence to a story. If the tone of your story is funny, then the refrain can romp and rollick through the book. If the tone is soft and lyrical, then the refrain can rock you gently as you read.

Here are some more books with refrains that I love. Read these too!

Mr. Duck Means Business by Tammi Sauer, illustrated by Jeff Mack
Bear Snores On by Karma Wilson, illustrated by Jane Chapman
Banjo Granny by Sarah Martin Busse and Jacqueline Briggs Martin, illustrated by Barry Root

Go explore some refrains! As you revise, ask yourself, does my story long for a refrain? Not every story needs one. But it's worth a try to do a revision with a refrain and see what happens.

If you have a favorite book that has a refrain, please leave the title in the comments.

Marcie Flinchum Atkins teaches fourth grade by day and writes in the wee hours of the morning. Her book-nerdiness shows through because she is a certified school librarian and also holds an MA and MFA in children's literature from Hollins University. She blogs about making time to write and how to use books as mentor texts at: www.marcieatkins.com. Her book, "Mentor Texts for Writers, Book 1" is available at: http://www.marcieatkins.com/books/

Petite ReviMo February with Jennifer Swanson AND a Giveaway!

Lights, Camera… ACTION!

How does your book idea first appear to you? Do you see an image which kicks off an idea? Do you read something that flashes across your brain?

For me, my fiction stories appear in my head as a slow motion movie. I see the characters move, interact, and speak. I can describe every bit of the background, setting, and dialogue. It’s as if I’m the director of my very own movie!

When the movie begins, I race to my computer and to get it down. I sit transfixed watching my story play across my brain.

Then I start typing furiously.
I am convinced that the words I’m writing are as vivid as the images I’m seeing.
Filled with excitement, I read them.
Ugh.
What happened? How can the images be so vivid and the words so flat?

Should I panic?
No.
First drafts are supposed to be, well . . . UGH.

Now comes the fun part: Revising.

Wait? Revising is fun?

Believe it or not my favorite part about writing is revising. I know. That seems weird. Most people hate revising. Not me. It gives me a chance to watch the movie over and over in my head until I get it just right.

Where do you start?

I like to pretend that I am a brilliant cinematographer and I am out to create an Oscar-winning movie. (Yes. . . I know. But it is my dream, right?)

So as I pick up my pen, or in this case, hunker down in front of my keyboard, I focus on molding my writing to the image in my head.

I ask myself the following:

1. What is the mood of this piece?

--Will it be “shot” in black and white? Meaning does the story have drama, intrigue, mystery? Maybe a film noir like Casablanca?

--Is this story to be in color with vivid characters that leap off the page? Will it be chock full of excitement, action-adventure, and danger, like Indiana Jones?

2. How will my manuscript focus on the characters?

-- Will there be a close-up of just one character throughout – like first person or third person limited?

-- Will there be a narrator who is omniscient? Like Ralphie in The Christmas Story

-- Will the focus be on a group of people – second person or third person objective? Like the astronauts in The Right Stuff

3. How will the scenes flow?

-- Will they be fast and furious like an action movie?

-- Or slower and more descriptive like in a drama?

-- Will it take place all at once or be drawn out over time?

4. What is the sequence or flow of the manuscript?

--Will there be long introduction of characters?

-- Or will you just jump right into the action?

-- How long will the sequence be? Each sequence has a beginning, middle and end, so they are like subplots. They need to move the story along but not spend too much time with each one.

5. Will there be a sequel and how will you handle the overall plot line? 

As I revise, I go over and over my copy, layering in each of the above items.

Yes. Over and over.

Revision takes time.

Sometimes lots of it.

The first couple of revisions may still not look at all like the movie in my head.

But eventually, the images become words on the page.

Finally, what I’m reading invokes the same dramatic images that are in my head.

And as they say in show business, That’s a wrap!

Thank you Jen!! 

Jen is giving away a picture book critique to one lucky ReviMo'er! Comment on this blog post for a chance to win. Happy revising everyone! 

Jennifer is an award winning author of over 20 nonfiction and fiction books for children. Her books in the “How Things Work” series by The Child’s World were named to the 2012 Booklist’s Top 10 Books for Youth: Series Nonfiction. She has received awards from the Pennsylvania TriState Young Adult Review Committee, The Moms Choice Awards, and The Dove Foundation. Top reviews include a starred review in Booklist, and recommended reviews from School Librarians Workshop, Library Media Connection, and the National Science Teacher Association.  http://jenniferswansonbooks.com/

Petite ReviMo October - Revising through Research

by Carrie Charley Brown

Revision. When it boils down to it, we all have slightly different approaches to revising our crappy drafts. Sure, there are common threads…all the components that go into good writing. There are tons of awesome checklists and resources for revision that certainly make our task a bit easier. (Here’s a new favorite of mine developed by Elizabeth and Gregory Cowan.) But, none of that matters if we don’t have a stand-out concept with emotional resonance. I’m sure you’re wondering: How can I revise that?

LET RESEARCH LEAD YOU

Your research can lead you down many different avenues. I’d like to cover three of them today.

Picture Books with Similar Concepts or Themes

Identify what is at the heart of your book, and look for similar themes and concepts at the library. What are you writing about? Perhaps your story has the theme of overcoming fears. What kind are they? Are they specific to starting school, meeting new people, or interacting with dogs? While looking up subject titles on Goodreads and Amazon is a great start, you will want to delve into them more. Bring them home and get to know them. Analyze plot, concept, theme, structure, character, and voice. What works for these books? What doesn’t? How is your manuscript different? What makes the books stand out? How can you make yours differ even more? How can you mix it all up and create something that has not been done yet?

Picture Books with 5 Star Concepts

These are books that may not have the same theme as your manuscript. They are simply books that you immediately think: “This idea is so unique!” or “There is nothing else like this out there!”

Analyze the concept in depth:
What about it do kids relate to? What makes it different than anything else out there? Does it remind you of another story? If so, how did the author create something unique? How does the author use voice to enhance the concept? Does the main character drive this story in a unique way? How did you personally relate to this main character? Apply what you learn to your own manuscript.

Picture Books that Speak from the Same Point of View (POV)

When analyzing this category, it is important that you first know the point of view basics. Ann Whitford Paul covers this well in, WRITING PICTURE BOOKS: A HANDS ON GUIDE FROM STORY CREATION TO PUBLICATION. If you have not read this book yet, it is a must. Even if you have, Chapters 3-5 would be an important revisit during your revision experiments.

From which POV did you write your story? Third Person Narrative Voice, First Person, Second Person? Furthermore, which voice and tense did you use?

Now look at some of your favorite picture books. Even better, look at your current favorites. What works in today’s market is very different than what worked 10 years ago (and in many cases, even 3 years ago.) Which POV, voice, and tense do your favorites use? How can you use the “mentor text”, as Marcie Flinchum Atkins calls it, to help you with your current work in progress?

After analyzing your point of view, you may discover that you need to try writing it from a new POV. Don’t let that drag you down! Revision is the ONLY thing that will lead you to your final draft. Happy revising!

Thank you so much Carrie! Love your take on this. :)

 

Carrie Charley Brown juggles ideas every day as a children’s writer, teacher, blogger, and mom. She believes success is possible with the next best idea. She is constantly researching by reading TONS of picture books, and currently serves as a CYBILS Fiction Picture Book Panelist. You can learn more about Carrie, and many other amazing authors, on her website: Carrie On…Together!, or follow her on Twitter and You Tube.

Petite ReviMo September!

Thank you for joining us for Petite ReviMo September! We are going with an oldie, but goodie, the Choose Your Own Revision Adventure from our ReviMo Classroom Style 2014.

These are the wonderful tips all our ReviMo Classroom Style guests gave us! Some of you joined us for ReviMo Classroom, but some of you haven't seen this yet, either way, I hope these tips light a revision fire for you!

 

Also, I'm curious, do you find yourself pantstering or plotting these days? I used to be more  of a pantster, but have become more of a plotter.... Verrrry curious. Let me hear it! And thanks for joining us revising!

Petite ReviMo May Day 2 - Doris Stone

 

What Do I Know About Revision?

by Doris Stone

When Meg asked me to write a blog post, my first thought was what do I know about revision?

Hmmmm. I hate it. I love it. It’s a pain. It’s bliss. I avoid it. I avoid it. I avoid it. But then, I sit down and do it.

I hate revision. It means I’ve made mistakes and my brilliant masterpiece, sucks. It means dissecting my story and figuring out what works and what doesn’t. It also means critiques. Yikes…critiques are scary!

I love revision. It means my tale is on paper. Sure, there are flaws but there’s hope too. My tale has a beginning, middle and end. I no longer fear that it’ll be lost in the fickle gray matter inside my head. (Not to say it won’t be lost in the jumble of files on my computer or in the disorganized mess I call, my office.)

Revision is a pain. It means reading my work over and over, one word at a time, aloud. It also means dragging out my dusty thesaurus. But wait, this is where revision is bliss. This is where I leave my story and find a distraction. Sometimes I clean my house, really clean it from top to bottom. Other times I read a good book, or start a new project and sometimes I just take to walking and walking and walking (think Forest Gump). Whatever I do I put some distance between myself and my work in progress.

I forget my revision and let my mind wander. Revision is bliss when I avoid it. I avoid it, avoid it and avoid it.

Then, one day I see a flash in my mind’s eye. It may be a word or a character that I needed for that story. Which story was it? What was it about? Did it have a title? My gray matter can’t recall it or even remember what it was about. I dig through the pile of papers on my desk. Not there! I pull up the file on my computer titled, “Stories needing revision.” There it is!

I sit my keister in the chair and revise. It’s breezy- easy!

I send it off to my critique group. That, as I said earlier, scares the beejeebers out of me. Why? Because I know they will want me to revise it.

Thank you Doris!!

 

 

 

 

Doris has spent her life surrounded by children. She's been called friend, babysitter, mother, teacher and "Nana". From everyday experiences she crafts stories. Her hope is they will enhance lives of youngsters and help them understand and enjoy the world around them. Doris is the creator of the Fearless February 28 day 28 minute Challenge. http://doriskstone.weebly.com/

Petite ReviMo May Day 1 - Marsha Diane Arnold

REVISING, IN LIFE AND IN STORIES
by Marsha Diane Arnold

I thought my life was perfect. I’ve lived on three acres of paradise in the Northern California hills for thirty-five years. I’d even made peace with dying here, overlooking the little forest filled with oak, madrone, and manzanita, redwoods and rolling hills beyond.

But I’ve had to revise. We’re selling our home on McGregor Lane (yes, the perfect address for a children’s writer) and moving to Florida. In the writing world this might be known as a “full rewrite.”

Revising our stories is not as difficult as revising our lives, but the two have much in common.

Change demands a lot from us. We procrastinate, whether it’s our life or our story. So, I am grateful for Meg Miller’s ReviMo challenge to keep us on track.

There are several types of revision. Here are three:

1. There’s the revision that comes when you know it’s needed. In life, it might be “I need to loose weight.” In your writing world, it might be “I need to get rid of that character.” To loose the weight you need to physically get moving. To loose the character you need to mentally get moving.
2. There’s the revision that your critique partners say is needed. How much we should listen to others partially depends on whether we are a beginning writer or a seasoned author. As we grow, we’ll become more discerning with other’s critiques. Still, it’s always a challenge to know which path to travel in a story. There are so many options.
3. There’s the revision that an editor says is needed. If it’s an editor who’s deciding on whether or not to accept your manuscript, that’s one thing. One editor may want you to change your story, while the next would find it perfect as it is. If you’re satisfied with your story, wait until several editors tell you revision is needed before revising.

If it’s an editor...or illustrator...who’s bought your manuscript, that’s another thing. The illustrator of one of my upcoming books requested I cut a number of lines in an already under 300 word manuscript. These are words I thought would make for great reading aloud. But this illustrator is one of the best in the field and I felt her images could tell the story without my words. So I revised, a.k.a. cut, them out.

Besides the usual things writers do - writing, blogging, developing e-courses, and visiting schools - I do manuscript consultations.

Often I find the beginnings of stories need revision. Some beginnings meander the reader into the story rather than dropping him in. Dropping a young reader into a story is almost always more exciting than meandering him in.

Often the endings need revision. Rather than a neat, to the point ending, some writers prefer to go on and on, hanging onto their story like a toddler afraid to let go of a parent.

Often the middle needs revision. Oh, let’s face it! Usually everything needs revision after our horrible, sad, first draft. I often advise writers to look again at the progression of events. Sometimes cutting events or switching them around will make the story smoother. Logical progression can be forgotten in the early drafts. Another thing that always helps is tightening. If there were a rewriting mantra, it might be, “Tighten, tighten, tighten.” (It sounds more humane than, “Cut, cut, cut,” doesn’t it?)

Once you have the basics of writing and storytelling under your belt, always listen to yourself more than your critiquers (those outside or inside your head). And always listen the most to your story because it’s your story that should be in charge.

Whether rewriting the story of your life or the story on the page, listen to the heart of it and take one step at a time. The heart of your life. The heart of your story. It won’t lead you astray.

Would you like to see a master revising? I was lucky enough to attend the brilliant and prolific Jane Yolen’s Master Class last October. Julie Hedlund was also in attendance; she recently posted a blog and short video of the experience. In the first part of the video, Jane is revising lines she’d quickly spewed out of her head. It’s fun and eye-opening to watch a master at work. http://www.juliehedlund.com/jane-yolen-may-2014-featured-author/


Thank you Marsha!!

The media has called Marsha Diane Arnold a "born storyteller" and a "magician of literary innovations." Her literary pathway began with the much-loved, award-winning newspaper column "homegrown treasures." Soon Marsha was writing for kids' magazines and in 1995 came her first book, Heart of a Tiger, for which she won the Ridgway Award for Best First Book by a New Author.

Other awards include Smithsonian Notable Book for The Pumpkin Runner, Junior Library Guild Selection, IRA Distinguished Book, and state Children's Choice awards for Heart of a Tiger, Kansas State Library's 150 "Best" Books for The Bravest of Us All, Notable Social Studies Book for The Chicken Salad Club, and a Family Choice Award for Hugs on the Wind. Roar of a Snore was twice selected for Dolly Parton's Imagination Library and her early reader Quick, Quack, Quick has sold over half a million copies. Her stories have been called "wacky," "whimsical," "inspiring," "beguiling," "heartwarming," "uplifting," "great read-alouds," and "a must-have for all libraries".

Petite ReviMo April Day 2 - Michelle Lynn Senters

STORYTELLING AS A REVISION TOOL
by Michelle Lynn Senters

I admit it.

Revision is my least favorite part of the writing process. I much prefer to remain in the delicious euphoria of having written the perfect first draft. Can’t I dwell there just a moment longer before I am whisked away into reality?

Thankfully, my critique group is adept at handling the delusional temper tantrum of a 44 year old writer. They appeal to my sensibility and love for words well-written. They pry the manuscript from my clenched fist, take up their pencils, and kill my little darlings. This is all in the name of good literature, of course, and I am better for it.

Nevertheless, after months of revisions and blinding attention to each word and detail, I am left emotionally detached from the story and the characters I once loved. The euphoria is long forgotten and I tire of a story read too often. Divorce is imminent.

At this point of the process, I have two choices. I can succumb to temptation of the garbage can or I can breathe new life into the manuscript. Because I am as stubborn as I am idealogical, I choose the latter and who better to breathe in new life than children?

Dramatic retelling of the "Three Little Pigs"

STORYTELLING AS A VIABLE REVISION TOOL

In the business world, it is unthinkable to introduce a new product or service without market testing and research. Movies, toys, cereal, technology, and thousands of other products are tested by those who represent the intended recipient. Children’s books, however, do not follow this format. Although the intended audience is the child, their opinions are not typically sought after during the writing or publishing process.

After years of teaching, writing, and storytelling, I have come to deeply value the opinions of children. They are painfully honest in terms of likes and dislikes in story and intuitively understand what makes a story magical.

Michelle shares her story, “Stay in Bed, Sleepyhead”. Students act out the 
wind and rain which causes little Tommy Joe to hide beneath the covers.

TIPS FOR ORAL STORYTELLING

Find your age-appropriate audience. Read to your children, nieces, nephews, and grandchildren. Befriend the local librarian and volunteer during story hour. Adopt a public school, daycare, or after-school program and serve as their resident storyteller.

Understand that storytelling is a performing art. It is a skill that gets better with practice. Watch youtube videos of storytellers. Google “storytelling” for comprehensive “how-to” guides. Practice. Start with a published book you know well.

Prepare your manuscript. Pre-published picture book writers must alter their manuscript to help children visualize the story. Add details about the setting, character, and plot that would normally belong to the illustrator. Appeal to the senses as you introduce the characters and set the scene.

Add props and costumes where appropriate. A few select props or costume pieces (scarf, hat) can powerfully illustrate your story. Elaborate costumes or handling too many props will only serve as a distraction. If possible, draw simple pictures on a whiteboard to give the illusion of setting.

Memorize as much of the story as possible. Don’t read the story, tell the story. It is not necessary to memorize the manuscript word for word as the students are not critiquing grammar, stylistic devices, or punctuation.

Become a “Storyteller”. A storyteller serves as an additional character to the story: the Narrator. Use facial expressions and hand gestures. Use different voices for characters. Be purposeful in pacing, pauses, volume, and emphasis to effectively increase tension and bring a satisfying resolution. Observe the listener’s responses and adjust accordingly.

Engage the audience. Encourage students to participate in story, as appropriate. Students may participate as actors or join the storyteller in repetitive or rhythmic lines.

Talk about the story afterwards. Ask questions to determine comprehension and fondness of the story. If you explain you are revising your work and want to make it better, children are more than happy to oblige with honest answers and plentiful suggestions. Did you like the book? Why or why not? Was it interesting? What was your favorite part? Was there anything you didn’t like? Have you ever experienced anything like our character did? What does this story remind you of? What happened in the beginning, middle, and end of the story? Can you imagine this story in a book? What would the illustrations look like? What does the main character look like to you?

USING THE STORYTELLING EXPERIENCE TO INFORM YOUR WRITING

Ask yourself the following questions to determine the effectiveness of your story.

Overall engagement
What was the physical response of the children?
What parts were they most engaged?
Were there any parts they appeared distracted?
Did the children “oooh”, “ahhhh”, gasp, and laugh in all the right places?
Did they lean in to listen and watch you with wide eyes?
Did the children seem to like the story?
What were their favorite parts of the story?
Were there any parts they didn’t like?

Response to Character
Did the children identify with the actions and feelings of the main character?
Did they empathize with the character’s struggle?
Did they express relief or joy when the crisis was resolved?
Did the children relate stories of similar experiences after the storytelling?

Understanding of Setting
Could the children explain the setting if asked?

Plot
How was the pacing?
Were there any parts that felt too fast or went to slow?
Did anticipation build to keep the children engaged?
Did the children have a physical/emotional response to the climax and resolution of the story?
Did the students express confusion at any point?
How did the students respond to the conclusion of the story? Spontaneous clapping? Silence? Confusion if it was the end? A request to tell it again?

Your Response
How did you feel about your manuscript before the storytelling experience?
How do you feel about your manuscript afterwards?
What went well?
Is there anything you would do differently (re: storytelling) next time?
Is there anything about your manuscript you plan to change after this experience?
What was your favorite part of the day?


CONCLUSION

You are more than a writer. You are a storyteller. Dust off your pre-published manuscripts and put them in front of children. The experience will not only inform your writing, it will breathe new life into your story. More importantly, it will breathe new life into you.

Thank you Michelle!

Michelle Lynn Senters is a writer, speaker, and teacher. She is the founder of  www.kidsarewriters.com and Arise Ministries for Single Mothers. She holds a BA in Elementary Education and a MA in Integrated Teaching Through the Arts. Learn more about Michelle and her thoughts on faith, life, writing, and kid-lit at www.MichelleLynnSenters.com.