Reading Nicki Chen’s great post on killing your darlings (click here for it) got me to thinking—always the sign of a great post. What was I thinking about? Being supple as a writer.
adjective bending and moving easily and gracefully; flexible.
This is not a post telling people what to do or how to be. This is just a reflection on how life sometimes makes you into what you never thought you could be.
I’ve worked as a writer for two book packagers (click here if you aren’t sure what a book packager is) over the years (and publishers too). Rule #1: please the client. You write a book. Client says, “Hmmm. It’s okaaaaaay. But I want you to make changes.” You rewrite the book. Client says, “Hmmm. Still just okay. I want you to make changes.” You rewrite your rewrite. Client says, “Hmm. I liked it better the first time.” You pull out the first version of the book, having learned the hard way to always save every version of a project until the thing is published.
Gemma Stone after her last revision—badly in need of chocolate, coffee, and maybe a warm towel to throw over her face. Oh and maybe a hug.
Fickle clients? No, this is you on the treadmill of writing, learning that darlings get killed over and over, while your writer muscles get exercised. Not just darlings. Stuff you were just on a first date with. Gone.
Apple Blossom wonders what to change next in her manuscript since she’s been told to drop 5K words.
This is you, mainlining coffee and M&Ms as you work to meet each deadline, some of them as fierce as tigers, growling at you sooner than you would have liked (like you have a month or two to do the whole thing, despite having to revise two or three times).
Pinkie Pie is on the fourth revision of her novel. She thinks maybe the chicken could write the book better by now.
Supple—when you learn how to write a picture book three different ways because you had to.
Supple—when you get the word from on high to start the whole thing over just because.
Supple—when you’re waiting on feedback that might mean having to go to Plan B.
When have you had to be flexible in your writing? Please tell the full tale in the comments below.
I don’t think I have ever talked about conferences for writers on the blog, let alone had someone on who coordinates one. But with me on the blog is the fabulous Pamela Livingston, who roomed with me during grad school. She’s here to talk about the Book Passage Children’s Writer’s Conference in Corte Madera, California.
El Space: Four quick facts about yourself? Pamela: 1. I was the Macy’s Easter Bunny.
2. I am the proud owner of both a VCFA MFA in Writing for Children & Young Adults degree plus a Picture Book Certificate which I may have illustrated before finally finding space on a wall.
3. My newest aka is “Mama Goose” of Goosebottom Books since purchasing this award-winning publishing house from its founder, Shirin Bridges.
4. I’ve been a circus star stage mom.
El Space: Tell us about Book Passage. What is it? What is your role in this conference? Pamela: Book Passage is one of the greatest indie bookstores in the world, having survived and thrived for forty-one years and counting under the eagle eye of Elaine Petrocelli, the voice of indies for NPR and other media outlets. I’ve been the conference director since 2016, although it feels more like a curatorial position, developing a potent experience for our participants. Over fifty percent of our attendees return year after year—this was the first writing conference I attended over ten years ago. Since I also head Book Passage’s Path to Publishing program, this conference provides me with an opportunity to mix in all of the components for children’s writers and illustrators.
El Space: How long is the conference? How many years has the conference been held? Pamela: This conference is a three-day, Friday morning through Sunday afternoon, festival which includes meals with our faculty under a northern California sky. For almost twenty years we’ve held it at our Corte Madera store, just north of the Golden Gate Bridge. It was the first children’s writers and illustrators conference in the San Francisco Bay Area.
El Space: What challenges do you face setting up a conference like this? What do you find most enjoyable? Pamela: Embracing all of our children’s literary community is my highest priority while providing educational excellence. To that end, our faculty represents members of SCBWI, VCFA’s Writing for Children and Young Adults program, award winners from a wide range of genres, diversity in all sectors, experts in the business of books, plus dedicated editors and agents who can move our participants’ work to the next level.
I thoroughly enjoy every aspect of this process, from coordinating with the authors, editors, and agents whom I’ve long admired, to hanging out with the conference’s attendees. It’s as if a wand was waived by the Fairy Queen of Books to create a dream weekend for my favorite people in the world. When I take into account faculty such as Elizabeth Partridge, Ellen Klages, Gennifer Choldenko, Tim McCanna, and Ying Compestine; plus Creston Books’ legendary founder Marissa Moss; Jennifer de Chiara’s venerable agent Stephen Fraser and representatives from West Coast agencies; editors from Bloomsbury and Cameron Kids—all in one place—I know I’m in for three days nestled in the Land of Enchantment.
El Space: I’m especially stoked that Betsy Patridge (photo at the right) will be there, since she was one of my lovely advisors. Why is a conference like this important for a writer? What makes this conference unique? Pamela: Conferences are the best way for a new writer to learn if this is a world they want to be in, what it will take, plus pick up the tools and network they need to get them there. As this conference is held at the most lauded independent bookstore in America, we are able to pull back the curtain on the business of books. My journey began as a storyteller, but I knew nothing about the mechanisms behind the business of bringing those stories from the page to the patron. Even my two graduate degrees in writing were light on the business end of this process. It wasn’t until I managed a bookstore and bought a micro-publishing house that I developed a clear picture of this process. This conference not only focuses on the craft of writing, it provides the creators of children’s stories with an understanding of the business of books.
El Space: What can a writer expect at a conference like this? Pamela: Our conference is both intimate and active, with options for participants to choose their educational opportunities along with a comfortable bookstore setting and café to meet, chat and get to know the faculty and each other. At last year’s conference, I was as impressed with the participants as I was with the faculty, since our attendees included a multi-Grammy award winner, adult genre-published authors changing to the children’s market, author networking leaders, teachers, librarians, etc. And did I mention the food? Let’s just say that one of the best restaurants in the county caters dinner!
El Space: Who should people contact for more information? Pamela: For more information, folks will want to check-out our website where updates are posted, along with our Book Passage Conferences Facebook page.
El Space: What are you working on? Pamela: Besides the conference, finding the perfect illustrator for a Goosebottom Book on Marco Polo, learning Quark, and praying that a particularly wonderful editor flips over one of my circus picture books.