Greetings;
Readers and listeners of children’s stories and poetry are primarily children, writers, and people like my grandmother, who simply loved the way words fit together to create thoughts. (Even as a child, I was amazed how she always worked the New York Times crossword puzzle with a pen!) Adults have life experiences to guide them in their daily decision-making processes, but young children haven’t acquired those judgment tools. They often learn how to interact and react with people in their real world by hearing or reading how characters within stories act. It’s imperative, therefore, to carefully choose one’s words when writing for minds in the formative stages of learning. I cringe when someone says something like, “I think I’ll write a children’s story. It looks easy.” It is easy if you don’t take into account that what you write may be completely believed by a young mind. It’s a big responsibility. Adults have acquired more knowledge, and as such can normally judge what is right or wrong with a character’s reasoning, but a young child isn’t as fortunate.
When you and I set out on our solitary journey of story writing for children, we are not really alone. A child is ultimately traveling along with us waiting to hear or read what we have written. I think a children’s writer is much like a tour guide, leading a child from one situation to another, while describing a mini-tour of life. We writers move our young readers through specific times, places, and situations with the words we choose to use. Whether those words are merely functional or articulate depends on how many workshops one attends, how many up-to-date children’s books are read, and whether or not the writer is a member of a critique group.
A person born with a creative nature, and taught even basic skills can write a story, but it’s the mastering of one’s voice that makes it breathe. The learned ability to be able to develop believable emotion and the language used in depicting events and places helps to make one’s story an enjoyable read. When all those lessons are learned and skills are in place, it’s time to re-write and re-write again—one of our toughest jobs for it’s in the “showing” where we either fail or succeed.
Finally, the job of writing for a young person’s enjoyment brings with it a great sense of fulfillment, especially when the young person “gets” what you wanted to impart. Always remember how important your written words are, and your job is, to some special child, whom you may never meet. When all those factors blend into a vibrant, published story worth re-reading, you have earned the right and privilege to be called a children’s author.
Until next Wednesday, continue to work for children; it’s so worth the effort.
Be well. Linda

Greetings;
Last weekend, five-hundred and ninety children’s writers gathered for three days at the Marriott Hotel in Fitchburg, MA to hone their craft together. As a rule, writing is of necessity a solitary profession, and that is why this gathering took on special meeting. The conference, titled MILESTONES, celebrated the New England chapter of the National Society of Children’s Book Writers and Illustrators (NSCBWI) twenty-five years of helping children’s writers become proficient in publishing their books. (The same applies to our illustrious illustrators. I wish you could have seen the forty-eight posters displayed for their contest featuring a new design cover of a classic storybook. I’m in awe of them for I can only draw stick figures, but am not qualified to discuss their classes.) Our critique group’s illustrator and writer, Jeanne, is certainly awe-inspiring. Great excitement abounded as celebrated authors, editors, and conference organizers spoke to our groups on specific points of writing for children. It was especially momentous for my local critique group, The Cape Cod Children’s Writers, because seven of our eight members stayed at the hotel. Our only absent member has recently achieved the status of airline host, and as such was truly up-in-the-air, while her seven cohorts were planted in chairs during myriads of conference programs. So what did we, as a single group, take away from the conference? Admiration for the organizers was prime. With dozens of specific programs and author instructors in place (a massive job in itself) the halls over-flowed with writers walking together discussing current workshops and projects.
Of course we love family and friends, but this grouping was unique because each writer loves talking and listening about WRITING. It is the norm, however, (we writers discuss such frustrations at our critique groups) for family and friends to read something we’ve written (if one bothered to express any interest in reading a story) and politely note, “It’s very nice,” or “I like it.” For those of you who have experienced such comments, please, please join a writers’ critique group. That is where you receive concise suggestions for improvement. There is camaraderie within our group that can’t be achieved anywhere else because we know and can feel what is needed to improve a piece and to rebuild a crushed spirit when rejections arrive.
There are also those who observe a writer writing alone for hours, days, month–you get the point—and note such “helpful observations” as “I would never have the patience,” or “I don’t have much time off from work, so close that damn computer and come out with me,” as if what we writers are doing isn’t a real job. My husband is a businessman of the highest ilk, but his bottom line is how much money does it bring in. In the writing business, that is a nebulous point for each “job” has a different pay scale. Let’s be honest; I’ve never met a good writer who works only to make money. It is more the need to write that keeps us going. As for me, I can’t not write. That innate need wakes me in the middle of the night, pulls me from some TV program to jot down a particular phrase or thought before it’s forgotten, and keeps me from “having fun” with friends. The truth is, even when I’m struggling with an arc, a deadline, or perhaps an effective emotion, I am having FUN. Only another writer understands that—another reason to become a member of a critique group.
So what did we learn at the conference? I wish you’d been there to hear every lecturer say in different words, be prepared to “Do the work!” “Make writing your priority.”
“Listen with elephant ears to a critique and keep quiet!” That remark, I find in working with new writers, is a common problem. New writers are so excited with a first story or (God bless you) first book, it’s difficult not to defend your baby. But listening is paramount to learning. Remember, over-night success can take a long time! When rejections come, it’s better to ask for comments on how to improve it (Critique Group) than to rip it to shreds and jump on it, although that can feel good too. I could paper a wall with my rejections, but I don’t. I throw them into a folder for future reference when I get wiser or am able to read them without crying.
There were many writers at the conference, who have not been able to find a local writer’s critique group. My suggestion: Leave your name and how to contact you with local and surrounding towns’ librarians and bookstore owners. Should anyone else ask, they can provide you as a reference to help organize your own local group. Call your local radio station. Put yourself “out there.” Speak with elementary school teachers. They’re a great avenue for visiting classrooms and trying out a new story with students. After you’ve read, it’s fun to have them draw a picture about your story. I’ve returned later and received really fun drawings. It’s a good second class to discuss how they can write their own story.
Finally, the main lesson every instructor (I believe) hoped to impart at the conference was expressed in three letters, BIC, for one can only achieve success if there is a specified, daily time of “Butt In Chair!”
Until next Wednesday, be well and call a teacher. Trust me; they would love to have you visit their classroom. Linda

Greetings;
Young children love sitting with Grandmother and listening to stories, especially their often-told favorites. You know, the ones where if even one word is omitted, the child lets you know. (I’m speaking from experience.) Now consider for a moment how the modern grandmother looks today in America, and what she does. Of course, there are still many who knit afghans (my children wrap themselves in Mum’s when they read or watch television) and bake chocolate chip cookies, but something new has been added—a healthy lifestyle. No longer does the average Nana wear orthopedic shoes or spend the day in a housedress. Now they don jeans, jerseys, and sneakers and join health clubs.
So why am I discussing grandmothers? If you as a writer want to create a modern story about a child and his or her grandmother that rings true and is up-to-date with today’s times, consider taking a stroll around a mall. See if you can distinguish by clothing or movements whether the woman you’re looking at is a mother or a grandmother. In general, you’ll discover there’s little difference anymore.
If you want an editor to notice your work, it must be original in plot and theme and contain concise wording. And, if the story is about a grandmother and her grandchild, perhaps you could have them run together or dance together in a school show to Nana’s music. A swimming story can provide a source of conflict because water lends itself to problems.
Write about the camaraderie of two people separated by two generations, who resolve some conflict together. How about the working grandmother, who takes her grandson or granddaughter to work one day. If she works in a bank, the bank could be robbed. If she’s a forest ranger, a doctor, or an astronaut, imagine an innovative plot. One caution, however, before you embark on a modern story. Get your facts right. If dealing with a specific profession, be sure to research location, duties, and uniforms.
There are also grandmothers, who work full time or play full time (golf, tennis, skiing) and don’t fit in time to read to their grandchildren. Perhaps that might be a cause for conflict.
There are gardening stories to write. Many Nanas have gardens in their back yards with animals living nearby, beneath, and even over those gardens, (bunnies, chipmunks, birds) but be careful where you submit such stories. Some editors and publishers make it clear in the company’s information site they don’t want stories containing talking animals or even animals exhibiting human traits. Once again, do your research to prevent frequent rejections.
Finally, for young children’s stories, keep them short and leave them with a fun, satisfying ending. They’ll sleep better at night.
On Friday morning of this week, members of our Cape Cod Childrens Writers will head to Fitchburg, MA for the national, three-day writers’ conference for SCBWI (Society of Children’s Book Writers and Illustrators. There has been much preparation beforehand in writing and submitting our stories for peer critique groups and private consultations. As with any serious writer, we understand the importance of joining with other writers from time to time to learn what is current in writing rules and editors’ needs. We will be busy with myriad workshops, authors, and agents during those three days and will have the chance to listen to learned authors discuss the business of writing for children. It’s a special occasion because it is the twenty-fifth anniversary of the first conference and is aptly titled, MILESTONES. I’m looking forward to meeting new writers and to sharing what I learn with you.
Until next Wednesday, wish us luck and keep writing. Perhaps you can join us next year.
Be well. Linda

Greetings;
My first book of poetry arrived for my ninth birthday and was instrumental in fueling the desire to create new combinations of words on my own. The author of the book, Robert Louis Stevenson, (1850-1894) captured a young farm girl’s imagination with his poem, “Where Go The Boats?” Where indeed? “Dark brown is the river, golden is the sand…”
I’d never seen or even imagined a brown river (the Mississippi River) or golden sand (Bermuda) and began to envision where those boats might have traveled. So began a lifetime of research to learn about such places. By fourth grade, I’d learned in geography class about the great wall of China and decided to one day walk upon it. “It flows along forever, with trees on either hand.” That dream was realized forty-seven years later, (never give up on your dreams) and my story, “To Walk The Wall” was born.
In fourth grade, I began reading every book I could get my hands on beginning with my mother’s dictionary. It’s amazing how a dictionary can stimulate a young mind. (the Falmouth branch of the Elks gives a dictionary each year to every third grader in town.)
There were two girls in my class of seven students, and two of the boys were slow learners, so our third and fourth grade teacher, Mrs. Leighton, who taught both grades in the same room, gave Liz and me “busy work” while she helped the boys to learn. The assignment consisted of a list of words from the dictionary, which were to be placed in alphabetical order. We quickly learned to skim the two words at the top of each page to save time and it became a friendly race to see who could finish first. As we became more proficient, the list grew longer. Smart teacher. She also set up a bulletin board with each of our names where we listed each book we had read.
Our town’s library became a magic castle for me. With my library card in hand I borrowed and read five books a week (the limit of books one could take at a time), but the dictionary remained my favorite. Each time I’d search for a particular meaning of one word, new words were discovered. When stormy days left me housebound, I began to open the dictionary at random pages to seek out new words and their meanings. Those afternoons flew by as I jotted down magical words and their meanings, which “spoke” of other countries, other cultures, and other worlds of people, who had never experienced life on a farm. Thank you, Mrs. Leighton. I have never forgotten your amazing teaching skills.
As years pass, other wonderful poetry books like Louis Untermeyer’s, THE CONCISE TREASURY OF GREAT POEMS, still sing to me with offerings of unique word combinations.
There are also special books for those times in our lives when we need a laugh to get through a rough day. I suggest reading Richard Lederer’s, (Pd.D in linquistics) tongue-in-cheek, ANQUISHED ENGLISH-An Anthology of Accidental Assaults Upon Our Language. In one chapter, he describes actual conversations recorded during court sessions. They include, Q. Are you married? A. No. I’m divorced. Q. What did your husband do before you divorced him? A. A lot of things that I didn’t know about.
There’s even one concerning a child in court: Q. And lastly, Gary, all your responses must be oral. O.K.? A. Oral. Q. How old are you? A. Oral. I’m smiling again; hope you are too.
Until next Wednesday, please consider buying a dictionary for a child this week.
Be well. Linda